



iilstf^^W!3 






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NEEDLE AND BRUSH: 

USEFUL AND DECORATIVE. 



i* 



COPYRKlHr, 1889, 
Bv THE BUTTERICK PUBLISHING CuMPANV, (Limited). 



^^METROPOLITAN^ 



ART SERIES. 



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NEEDLES ANDS BRUSH: 



USEFUL AND DECORATIVE. 



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OP CO 



i JUL 131889;.] ' 



"''-^SHiNGTOf 



NEW YORK: 
THE BUTTERICK PUBLISHING CO., (Limited). 



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" Here the needle plies its busy task. 



— Co7vper. 



"Where you rest, there decorate," 



-Ru^kin. 




w mm 






WHEN the publication of the Metropoli- 
tan An Series was begun, our aim 
was to meet the demand of our patrons for 
books containing illustrations and descrip- 
tions of such varieties of fancy-work as come 
within the reach of those whose best efforts 
are dedicated to the task of making home 
beautiful. That we have succeeded in fulfill- 
ing the demand is proven by the unprecedented 
sales of the initial volume, which is published 
under the title of *' Needle-craft," and empha- 
sized by the requests that followed its pub- 
lication for another volume, which should be 
complete in itself as well as supplementary to 
the first in its exposition of such varieties of 
decorative work as are dependent both on 
needle and brush for their perfect develop- 
ment. The principle which has always actu- 
ated us in all our undertakings has been the 
recognition of the expressed wants of our 
patrons in various sections, and we have not 
deviated from it in the preparation of these 
volumes. Those who have asked for instruc- 
tions regarding such varieties of painting as 



are applicable to articles of household use 
and decoration have been given generous 
space in " Needle and Brush," while those 
who have expressed their satisfaction with the 
contents of " Needle-craft " and requested 
additional designs for artistic and practical 
articles that depend mainly on skilful 
needle-work for their good effect, receive equal 
consideration. Accepting as a fair augury 
the interest manifested in even the most 
elaborate designs contained in the first vol- 
ume, we have introduced into " Needle and 
Brush " many novelties which are by many 
mistakenly supposed to involve large expense, 
and to be procurable only at- the shops de- 
voted to the manufacture of specialties in 
certain lines. Nothing has, however, been 
attempted that is beyond the possibility of 
execution in the home, and every design is 
accompanied by accurate instructions. The 
present volume is therefore ofTered to the 
public with the belief that it will win for itself 
the same degree of gratifying approval as has 
been accorded its predecessor. 



•X3BE3S 38XJXT3E3RICK: 3PXJ3BXJ.IS3BEI1TG- G01Kl£>&J<i'^, , Limited. 



NeeDLs AND BH^$H. 



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CONTENTS. 



^ X X 




X ^ 






^PJ^JS^f^^-f^JD^g^ 



CHAPTER I. 
SORRENTO EMBROIDERY, 



PAGE 

^3 



CHAPTER n. 



ROMAN EMBROIDERY, 



19 



CHAPTER HI. 



PIANO-COVERS, 



27 



CHAPTER IV. 

CHAIR DECORATIONS AND CUSHIONS, 



31 




CHAPTER V. 

TABLES AND TABLE-COVERS, 

CHAPTER VI. 

FANCY LAMBREQUINS, 



39 



51 



NeeDLG AND BH^SH. 



CO 

o 

o 



o 



C03SrTE!3Sr T s . 



CHAPTER VII. 

SIDEBOARD AND SHELF DRAPERY, 



O 



© 



SACHETS, 



CHAPTER VIII. 



CHAPTER IX. 



ARTISTIC DESIGNS FOR PATCHWORK QUILTS AND 
SOFA-PILLOW, .... 



CHAPTER X. 

TENNIS-RACKET COVER, 



6i 



75 



8i 



@ 



CHAPTER XI. 

FANCY BOOK-COVER, AND CASES FOR BOOKS AND 
ENGRAVINGS, 



85 



CHAPTER XII. 



DECORATED EASEL, 



93 



CHAPTER XIII. 

WALI> DECORATIONS, CALENDARS AND SCREENS, 



97 



CHAPTER XIV. 

FOR AND ABOUT THE WORK-TABLE, 



113 



CHAPTER XV. 

CHAMOIS .AND CELLULOID ARTICLES, 



125 



CHAPTER XVI. 

DECORATED THERMOMETERS, 



131 



^ 



CHAPTER XVII. 

ON THE WRITING-DESK, 



137 



.©Q(S)@i)(D^®3S©©©@©i)i)®©©®@®i)3)i)®SSl®a>@@aS©®®®®©@( 



NeeDLe and bhqsh. 






CHAPTER XVIII. 

FRAME AND CASES FOR PHOTOGRAPHS, 



CHAPTER XIX. 
FANS, ADAPTED TO USE AND ORNAMENT, 



157 



CHAPTER XX. 
FANCY FRAMES FOR MIRRORS AND PICTURES, 



^65 



CHAPTER XXI. 



FANCY BASKETS, 



171 



CHAPTER XXII. 

PRACTICAL PAPER-POCKETS, 



181 



CHAPTER XXIII. 

ARTICLES FOR THE TOILETTE TABLE, 



CHAPTER XXIV 



PINCUSHIONS, 



197 



CHAPTER XXV. 

HELPS FOR AMATEUR ARTISTS, 



207 



CHAPTER XXVI. 

DECORATION OF DAISIES IN OIL COLORS, 



CHAPTER XXVII. 

DECORATION OF AZALEAS IN OIL COLORS, 



218 



CHAPTER XXVIII. 

^ FLOWER PAINTING IN OILS, 



@@S@@) 



S)@i@)as)3®a 



NeeDLG AND BR^SM. 



COlSTTIEJl^rT S . 



CHAPTER XXIX. 

PAINTING ON GLASS, . 



I'AGE 



CHAPTER XXX. 

PAINTING ON PLAQUES, 



129 



CHAPTER XXXI. 

THREE-FOLD SCREEN AND DESIGNS FOR DECO- 
RATING IT, ... . 



235 



CHAPTER XXXII. 

DESIGNS FOR DECORATIVE PAINTING, 



= 55 



CHAPTER XXXIII. 

DESIGN IN KENSINGTON PAINTING : OWLS ON A 
BRANCH. ..... 



262 



CHAPTER XXXIV. 

AUTUMN-LEAF DESIGN FOR EMBROIDERING OR 
PAINTING, ..... 



265 



CHAPTER XXXV. 

SKETCHING IN WATER COLORS, 



270 



CHAPTER XXXVI. 



LUSTER PAINTING, 



279 



CHAPTER XXXVII. 

CRYSTALLIZATION PAINTING, . 



284 



CHAPTER XXXVIII. 

PAINTING ON CHINA, 



^9_ 



CHAPTER XXXIX. 



SI'ATTKR-WORK, 



295 



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('A 

71 Tf!* 



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CHAPTER I. 



SGRREHTQ EMBRGIDERY. 




OTH needle and brush are em- 
ployed in the execution of the 
fascinating variety of decorative 
work known as Sorrento em- 
broidery. Linen sateen is the 
material oftenest chosen for a 
background, and the purposes to which 
such work is best adapted are those which 
permit of developing bold effects. The sofa 
cushion chosen as an exposition of the 
work in the present instance is made of 
dark green plush and linen sateen of a 
slightly creamy shade. The plush forms the 
under side, and the linen, upon which the em- 
broidery is developed, forms the other. Be- 
fore the cushion is made up, the linen is 
prepared by being stamped with a design 
showing oak leaves and acorns in combination 
with an effective arrangement of conventional 
curves and angles. One-fourth of this de- 
sign is comprised in Diagrams A and B, which 
are illustrated on succeeding pages, and are 
of the full size required. By placing the cor- 
responding edges of these two diagrams to- 
gether with the corresponding dotted lines 
marked A and B together, one-fourth of the 
entire design will result, and by quadrupling 
the portion thus achieved the entire pattern 



will be reproduced. The remaining dotted 
lines show where the corresponding sections 
come together, and by comparing the dia- 
grams with the cushion illustrated the process 
of enlargement will be fully comprehended. 
When the design has been traced, it is gone 
over with liquid dye in a dark green shade, 
the application being made with a brush that 
is not soft enough to take up much at a time. 
The liquid is applied with quick, even strokes, 
and extreme care is exercised lest it go be- 
yond the outlines, as the beauty x)i the effect 
depends on the regularity with which the 
work is done and the strength of the contrast 
between the design and its background. 
When the design has been tinted in the 
requisite color and given plenty of time to 
dry, all its outlines are bordered with a 
button-hole stitching done with heavy rope- 
silk of the exact shade of the dye, and upon 
the background a network of outline stitching, 
broken here and there by a loop stitch, is 
made. The leaves are then veined with silk 
somewhat finer, but of the same shade, and 
the cover is ready for making up. The effect 
suggests rich applique work, and the process 
as thus described is illustrated at Figure No. 
2 on another page. Sometimes it is the back- 



14 



NeeDLG AND SH^S^- 



ground wliicli is tinted as pictured at Figure their experience yet to undergo, the maxim of 

Xo. 3, while the design is left in the color of "make haste slowly" may be repeated with 

the linen ; Figure No. 3 also ijluslrates the emphasis. We have spoken of the linen 

button-hole stitching very plainly, while sateen so much favored for this class of work. 

Figure Xo. 2 clearly exemplifies the process It is sometimes called "art linen '" and is very 

of veining. \Mien the design is geometric or firmly and smoothly woven; it is obtainable 

architectural, or in any severely conventional in cream and pure white shades, and, when 




FiGURK No. I.— SuKA Cushion Decouated wrrii Sokrenk.' I^miuioidkry. 



style, the tinted background is effective ; but 
foliage appears best when it is itself tinted. 

yVlmost everybody who has experimented 
much with the brush will exercise personal 
preference regarding the liquid dyes which 
are us(m1 for this class of work, and to such 
only the hint to profit by experience need be 
given. To such, however, as liave most of 



enriched in the manner described, is counted 
suitable for association with the richest fab- 
rics employed for cushions, portieres and 
other decorative articles. Any other material 
woven so that the dyes v.ill not spread too 
quickly may be used instead. Art linen or 
linen sateen resembles what is more famil- 
iarly or generally known as linen drilling. 




15 



NeeDLe and gj^QS^- 



17 



Those who attempt Sorrento emljioiclery with- certain effects, whicli to combine, and how 

out previous experimental knowledge, usually much they may 'be diluted. If, however, the 

find Grenies' dyes the easiest to work with, be- worker desires but one tint and is certam of 

cause with them they may procure a medium obtaining that in perfection at the shops where 




Figure No. 2.— Showing the Efi-ect oe a Tinted DKsrG^ 



for mixing with them, which imparts body .such articles are kept, she may proceed even 
enougli to iiold them within even the most cir- more fearlessly, but in no instance should she 
cumscribed space, and because they are so few apply it to the article to be embroidered with- 
in number that a few trials will convince her out first testing it upon a scrap of the same tex- 
which are the pn^per ones to use to produce ture. The fabric should be laid over a sheet 



NeeDLG AND gF^asH. 



of blotting paper in order to arrest the super- previous warning, that practice alone can teach 

fluous moisture, and the first strokes should the process thoroughl}'. Beginners will do 

be made toward the edges of the design, in well to limit their first efforts to producing 

order to guard against overrunning. In gen- uniformly tinted designs, but when they have 




Figure NO. 3. — Siiuwi.N(; tiik Efkkct uk a Tinted Background. 



eral, it may be said that any dyes and any progressed a little in this direction they will 

materials adapted to tapestry painting may be understand the possibility of developing shaded 

used for Sorrento work. ]5ut it must be tints and of uniting different hues in the same 

urged, even witli the danger of repeating our design. 



NeeDLG AND gi^QSH. 



19 




CHAPTER II. 



RQMAH EMBR81DERY 

HIS is one of the most set of toilette articles comprisjng a cushion, 

beautiful varieties of perfume bottle and bureau scarf, 

fancy-work in vogue, Figures Nos. i and 2 show the style of the 

and one that, owing to its cushion and bottle. The latter is round in 

adaptability to articles of shape, and easily procurable for a small sum. 

use and adornment, may The cushion is oblong in shape and is simply 

be truly classed among the most practical a bag filled very solidly with whatever mate- 





FlGURES Nos. I AND 2. — CUSHION AND BoTTLE. 



with which a lady may employ herself. We rial is preferred and provided with an outer 
have selected to illustrate its development a covering of satin, which is drawn on very 



NeeDLS AND BRtiSH. 



smoothly. Upon the top is laid a cover of inner edge of the engraving show where to be- 
Roman embroidery, wrought upon linen sateen gin to increase the size. The dark background 
and bordered with a fringe of rings and shows where the linen is to be cut away, and 




Fkjure No. 



-Dksicn kok Cushion-Cover. 



tassels. The design of the cover is illustrated the finish of the edges, which is button-hole 

at Figure No, 3, which is one half of the actual stitching done with flax thread, is clearly 

size, the design being duplicated to produce illustrated at Figure No. 7. Considerable 

the requisite dimensions The letters along the care is required to insure regularity in cutting 



NeeDLS AND BH^S^* 



away this background, and it is a question of 
personal skill whether the butlon-hole stitch- 
ing be done before or after the background is 
cut away. For one who is not an expert with 
the needle it would be easier to do the button- 
holing first, and this plan is followed by many 
who do not lack experience, because, they 
claim, the fraying or stretching of the edges 



often called linen drilliii:^ and by that name 
is easily obtained at almost any shop where 
such articles are kept for sale. 

The ring fringe, which is such a hand- 
some hnish for the cover, is made of silk 
crochetted over metal rings, the process be- 
ing very accurately described and illustrated 
in '• Needle-craft," and a ring partially cov- 




FiGURE .\u. 4. — Design iur Doi ii.k-Cover. 



is thus avoided. The network or cobweb 
stitches are likewise done at whichever stage 
the worker finds most convenient. Such work 
progresses rapidly in deft hands and is done 
on silk and bolting cloth, on duck and various 
other fabrics as well as on the linen sateen 
used in the i^resent instance. The latter is 



ered with the tassel attached being shown at 
Figure No. 5 of this chapter. 

Flax-thread, rope-silk or any material 
adapted to the making of fringes may be 
employed for the jnn-pose. In attaching the 
rings to form the fringe, their adjoining sides 
are connected bv invisible stitches and the 



NeeBLe ftN9 bR^SH- 



fringe «he„ completed is caught ,o .he cover cover is shown a F.gnre N . 4- He pa 
in tL same wav. Much of the good effect of tern is duphcated as many fmes as n c- 
Ron,an embroidery depends on bringing out essary to produce the ,e,u,s,te letrgth, and 




Figure No. 5.— King and Tassei. 




Figure No. 6.— Bureau Scare. 



the pattern by laving it over a color present- the lower edge of the cover, which extends 

ing a decided contrast. almost to the bottom of the bottle and has a 

The design which enriches the bottle- row of button-hole stitching along the margin, 



NeeDLG AND B^^SH. 



23 




Figure No. 1. — Corner Section ok Dksh.n for Uireau Scarf. 



24 



NeeDLG ilND BKQSH. 



is finished with a row of r'w^^s. covered with The bureau scarf shown at Figure No. 6 

silk. Rings adapted to this purpose may be is a charming exponent of Roman embroidery, 




Fi(-.URE No. 8. — Ckntkr Section of En'o ok Desic.n for Bureau Scarf. 



purchased readv for use at any fancy-goods and its practical value, joined to its beautiful 
shop. A ribbon bowed about the neck of the effect, well repays the time and expense of 
bottle completes the ornamentation. making it. The embroidery designs shown 



nggDlg and gi^cas"- 



at Figures Nos. 7, 8 and 9 are in the full color. Brown with ecru and red with cream, 
size of the sections they represent. Two are effective combinations. When the em- 
corner sections like Figure No. 7 and broidery is developed upon any article which 
one like Figure No. 8 comprise the width will require laundering it is of course best to 
of the embroidery at each end, and the limit the choice to fadeless colors, but when 




FicuRK No. Q.— Section of Dksic.n for Sides of Bureau Scarf. 

requisite length for each side is obtained by done on silk very delicate and effective con- 
duplicating the design shown at Figure No. 9. trasts may be developed. Very delicate texi- 
The network may be made as simple or as ures are sometimes rendered less liable to 
elaborate as personal taste desires and the fray if they are sized with diluted white glue, 
needle-work may all be done in the same white of egg, gum-arabic or some similar 
shade as the material or in a contrasting mixture before the background is cut awav. 



ftl^X X X XX X X X X X .^QTi^ 



NSeDLG anB sh^$h. 



'C^^A. < X' K X' X- XX X- X' > vV'^^ 



How 10 do this so as to produce a graceful junction with the silk scarf as described 

effect without involving a large outlay ; or, above a piece of Irish point lace long enough 

even if the expense be a minor consideration, to pass about the shelf. This may be ar- 

without producing too heavy and elaborate an ranged plainly with its depth hanging below 

effect is often a puzzling question. A simple the edge, and the scarf, run through a ring, 

but artistic arrangement is developed as fol- disposed to overhang it slightly. A bow of 

lows. A scarf of India silk, a little longer ribbon matching the scarf in hue might be 

than the distance round the shelf, is bordered fastened where the draping is made with the 

at the ends and at one of its sides with ring. Mantel draperies thus arranged are 

thumb fringe or little ornaments sewed on to easily taken down, shaken and readjusted, 

form a fringe, and is run through a brass ring and this fact alone is much in their favor, 

which is concealed by being button-holed or especially where open fires are used, 
crochetted all over with cable silk. The ring Among the most beautiful of inexpensive 

is adjusted at the center or to one side of it, material for draperies is a Japanese cotton 

and the scarf is disposed with its untrimmed crape, delicately figured in gold. Pongee, 

side on the shelf and its extremities falling sateen, chintz, and all materials adapted to 

gracefully at the ends. The edges which rest the purpose may be arranged in the manner 

upon, the shelf may be held in position by described. Sometimes two shorter scarfs are 

extending them beneath the heaviest orna- passed through a large ring, and one end of 

mcnts or pieces of bric-a-brac and the fulness eacii is carried to its respective end of the 

may be drawn into iimumerable graceful folds shelf ; the remaining ends then disposed in 

as it escapes from the ring. any pretty fashion at the center, a favorite 

This arrangement is one upon which a disposal being a fan-shaped arrangement 

great many variations may be rung. An ex- which displays to good advantage whatever 

quisite effect is produced by using in con- decoration is upon liicm. 






NeeDLG AND B^^S"- 



27 



l,®^£!25, 



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v!> 







W.W.I 







CHAPTER III. 



P1AN0-G0VERS 



OW can I make a piano-cover that which may be applied to a piano-cover of 

will be pretty, harmonize with felt, billiard-cloth, etc., with most effective 

other furnishings and yet not re- and pleasing results. 
Tjs^TJT quire a large outlay of money, is 
I a question often asked. In this '^^^^^ °' Pi^"° Cover. 

* ^ * chapter is illustrated a pretty Figure No. i. — This engraving illustrates 

y cover suitable for a table or a table or piano cover that is handsome and 

piano, and also a very effective border, not very expensive, if made at home. The 



. HR; JpEvHii'lB^ 



■^ '^L^ :l^i^. 



'' 'M' 'til' "lii- '^liwi '^ iii ^ i i i riBir 

iMmmr "" 




^ 



Figure Nu. i.— Tahi.k ok Piano Cover. 



28 



NeeDLG AND gi^tiSM- 



fabric is dark-red cloth, and the border is strip is pointed, the outer ends being ex- 
made of rows of black velvet-ribbon applied tended some two or three inches beyond the 




Figure No. 2. — Part ok Border Desicn. 



as illustrated with fancy stitches done with edge of the cover and tipped with a fancy 
silk floss in bright gold. Each end of each ornament of gold and red; thus forming a 




Figure No. •;. — Tart of Border Design. 



3° 



NeeDLG AND BI^tlSH. 



handsome and rich looking fringe. Tassels 
may be loosened from old fringes and used 
with good effect, or any style of ornament 
may be selected. Long stitches are crossed 
upon the fringed ends of the ribbon, to ren- 
der them lighter and more elaborate in effect. 
A variety of colors may be introduced in the 
application of the ribbon, and the cover fabric 
may be of any color and of any preferred 
material. 

Border Design for a Piano-Cover. 
Figures Nos. 2 and 3. — These two engrav- 
ings illustrate a geometrical mosaic arranged 
as a border to a piano-cover. The best way 
to proceed in duplicating the design is to 
trace it on parchment paper, uniting the two 
sections on one piece of paper according to 
the capital letters, and then duplicate the 
size as often as may be necessary to obtain 



the requisite dimensions, making subsequent 
duplications so as to complete the shapes by 
bringing the small letters together. The un- 
broken lines indicate complete outlines, and 
the dotted lines show where parts of the de- 
sign are separated owing to the size of the 
pages. No difficulty in perfecting the outlines, 
need be feared, however, if the design be 
traced and matched according to the instruc- 
tions given. Such borders are worked with 
metallic cord sewed down invisibly with cot- 
ton, with fine silk cord purled with button- 
hole stitches, and with embroidery silk which 
follows the design in chain or herring-bone 
stitch. A handsome piano-cover, which may 
be made at small cost is of felt in old-red, 
with a border of olive velveteen, upon which 
this design is stamped and then reproduced 
with bronze and copper-colored metal cords. 



■^^S^^__ 




■l.c? 






NeeDLG AND 5I^tl$H. 






CHAPTER IV 



^^^13^ 




gmm DECORATIONS RUB CUSHIONS. 



KRY often the turnish- and this chapter contains several illustra- 
ings of a room which tions of chairs, both modern and antique. 
seem quite luxurious From them many ideas may be gleaned which 
are the result of in- may be applied to possessions in hand, 
genious feminine fin- 
gers and taste, the Decorated Chair. 
)pment of artistic needle- Figure No, i. — Any chair of like shape 
being not always completed may be decorated in this way, and it may be 
the driving of tacks, gilded or colored, the gilding being exceed- 
Just now there is a fancy for ingly effective. A square, flat pillow or 
using old-fashioned chair frames and brisihten- cushion is made of brocaded silk to tit 




FiGiRE No. I. — Decurated Chair. 
ing them up with pretty cushions and covers, the back as pictured, and the filling may be 



NeeDLe and brcish. 



balsam, fir, cotton, down, etc. An edge of 
cord is added, and bows at the upper corners 
appear to secure it to the cliair. A scarf of 
the silk is laid across the seat and is edged 
all round with cord and decorated at the ends 
with a row of ball fringe. Tiie cushion and 
scarf mav be of any preferred material or 
color and decorated to please the taste. 



and then carefully cut out, leaving a design in 
low relief. A fancy stitch in yellow silk floss 
fastens the edge of the pongee strip to the 
side of the scarf. The ends are then deco- 
rated with a heavy silk fringe and fall well 
over the seat and back. The covers for the 
arms are made in the same way, only they 
are, of course, much smaller. If preferred, 




FUiURK No. 2. — ClIAlK-CuVKRS. 



Plain fabrics will be decorated with embroi- tightly twisted silk fringe, with acorn pen- 

dery done in outline stitch, or with applique' dants, could be used, or brass crescents might 

embroidery or ribbons. be employed if liked. 

Chair-Covers. Decorated Chair. 

Figure No. 2. — Dark brown velvet consti- Figure No. 3. — A wooden chair of any 

tutes the background of these covers, and shape may be decorated in this manner, and 

upon it is laid pongee silk in its natural hue. may be gilded or painted in any preferred 

The silk is stamped in foliage pattern —which color. The scarf of velvet or plush is long 

is outlined with silk braid upon the velvet— enough to throw over the cross-bar below the 



NeeDL© AND gF^as^- 



33 



top and is caught in at the back of the seat tlie back, and also below the seat, it is em- 
with wide ribbon that is bowed prettily ; it bellished with applique' flower sprays, which 




I-IGUKK 2\U. 3. — DKCORATiiD CHAIR. 




Fi(;l-ke Xu. 


4. — Decora ir.ii Ruckkr. 


falls nearly to the floor in front and has a row 


are selections from Kursheedt's Standard flo- 


of plush ball ornaments along this end. At 


ral appliques. If preferred, this part of the 



34 



NeeDLG AND si^tiSH. 



decoration may be hand-painted or embroi- 
dered, but the applique decoration is effective 
and easier of accomplishment. 

Decorated Rocker. 

Fi(;UKB No. 4. — In this engraving is illus- 
trated a handsomely decorated rocker having 
an upholstered seat and back. A handsome 
scarf, made of oblong sections of velvet in 



frame at the meeting of the back and seat, 
and hold the scarf permanently in place, 
though other means of fastening may be used, 
if these and the weight of the fringe and 
tassels be not sufficient. Fancy and plain 
ribbons and silks may be used instead of vel- 
vet, with pretty effect ; and the colors may be 
those most pleasing to the taste. Such scarfs 
are usually prettily lined and are as suitable 




Figure No. 5. — Decorated Rocking-Chair 



iwo shades arranged as pictured, and deco- 
rated with long stitches done with gold floss 
in imitation of sun rays, is arranged upon it to 
fall over the back and below the seat, all the 
edges being bordered with thick cord. The 
ends are trimmed with bullion fringe, and 
bullion tassels are fastened to the corners. 
Wide ribbons fastened to the scarf at the 
lower part of the back are tied above the 



for arm and easy chairs as for rockers. A 
willow chair with a pretty cushion fastened in 
the seat will be rendered very elegant by the 
addition of such a scarf. 

Decorated Rocking-Chair, 

FinuRK No. 5. — The covers on the back, 
seat and arms of this handsome chair are 
made of scraps of silk, plush, satin, velvet. 



NGGDLe AND 5^a$H. 



35 



ribbon, etc., put together in the famous crazy 
or mosaic fashion. All varieties of fancy 
stitches may be used with pleasing variety in 
such work, and, of course, all sorts of colors 
may be introduced in them. A narrow band 
of velvet borders the covers, and the back 
cover is made long enough to fall over 
for a short di'stance at the back, where it 
is bordered with a row of handsome fringe. 
A row of similar fringe falls from the band 
crossing the front of the chair, and also from 



cotton with either material. Fancy matting is 
also used for chair covers, all its edges being 
tacked to place under gimp with brass headed 
tacks. 

Fancy Chair. 

Figure No. 6. — This chair was made of 
inexpensive wood, tinted and varnished to 
imitate ebony and touched along some of the 
edges with gold paint. The seat is slightly 
padded and covered with figured silk. A 





FicuRE No. 6. — Fancy Chair. 



FicuRE Nu. 7. — Decorated Chair. 



the outer long edges of the arm covers. 
Around the lower front part of the arm is 
passed a wide ribbon that is tied in a large 
bow. An old chair, varnished or painted, 
will look like new when decorated in this way, 
and will result in a rich and elegant piece of 
furniture. Canvas and burlaps in e'cni and the 
yellow shades are used for covering chairs in- 
tended for balcony use or for the upper rooms 
of houses. A combination that is very effec- 
tive is developed by associating Turkey red 



sachet in crescent shape covered with silk is 
tied to the top of the back with ribbon 
bunched in long loops and ends, the ends 
being pointed and tipped with small pompons. 
A fringe formed of strips of ribbon similarly 
finished depends from the seat of the chair, 
and also from the lower edge of the sachet. 
The silk employed in the present instance has 
a gold-colored ground showing black figures, 
and the ribbon and pompons being gold the 
effect is gorgeous and handsome. 



36 



NGeDLG AND gp^asH. 




Fi(;rKK Xo. 8. — Emhkoidkrv DKSKiN 



NeeDLG AND gi^tiSH. 



37 



Decorated Chair. 
Figure No. 7. — Any fancifully shaped 
small chair ma)' be decorated in this way. 
The wood may be of any handsome variety, 
or inexpensive wood may be beautified by 
paint and varnish. The cushion is made of 
fancy striped, loosely woven canvas or crash 
embroidered in oriental colors, according to 
the design pictured and described at Figure" 
No. 8. To the top of the chair is fastened a 
sachet in two parts, one part falling backward 
and the other forward, and the two being tied 



entire pattern and is done in short button- 
hole stitch, the stitches being taken up at 
comparatively long intervals. The filling 
stitch is Kensington and the colors are indi- 
cated by letters in the engraving, which, being 
interpreted, mean : A, cream ; B, blue ; C, 
red ; D, orange ; E, light-olive ; F, pink ; G, 
heliotrope ; H, dark-olive ; I, reddish-orange. 
The stems are embroidered with gold tinsel 
thread, and the straight lines in the figures 
and the little cross designs are done with flat 
silver tinsel. 




Ik 




Figure No. 9. — Chair, with 
Embroidered Cushions. 



Figure No. 10. — Emkroidery 
Dksi(;x. 



to the chair with ribbons. The outer covering 
of the sachet is embroidered to correspond 
with the cushion and it is lined with the plain 
color. 

Embroidery Design for Chair. 
Figure No. 8. — This design is used in 
embroidering the chair-cushion and sachet 
illustrated at Figure No. 7. Its colors are 
dark-cream, old-pink, old-blue, old-red, reddish- 
orange, dark and light olive-green, heliotrope 
and black. 7"he black is used to outline the 



Chair, with Embroidered Cushions. 

Figure No. 9. — The frame of this chair is 
of a shape that may be purchased at any shop 
dealing in such articles, and the cushions are 
of velvet ornamented with outline designs 
done in silk. Such a chair in wood having a 
white enamelled finish, with blue satin cush- 
ions wrought in pale gold would be very 
ornamental in a drawing-room or boudoir. 
An ebony frame with yellow cushions would 
be equally effective. 



38 



NeeDLG AND S^CiS"- 



Embroidery Designs. embroidery, and ibe stems may be increased 

Figures Nos. io and ii. — These two fig- in length and blossoms added in proportion 

ures illustrate the designs employed in em- to the size of the seat and back of the chair. 




Figure No. ii. — Embroidery Design. 



broidering the chair pictured at Figure No. 9, If solid embroidery be preferred to outline 
on the ])receding page. Either satin or out- work the floral designs may be done in satin 
line stitch may be employed in doing the stitch. They are equally pretty when painted. 









NeeDLs AND gi^tiSK- 



39 



^&^\f :S^>5 #^n^ 



r*?. ,- 

/^^' 



(^0^1 '^tsy^ic 'w^^i- %'V _^ 




(^ 



•■ t I V-o ''r ■ ^^' 'C i*^ -^Z-i'^< 



CHAPTER V 



T^ABLES AND T-ABLE-G0VERS. 




HK fancy recently displayed 
for putting ornamental covers 
^ upon our tables has resulted 
V/J, very happily ; for the designer, in 
showing of what he is capable, also 
shows people how to work artistic- 
ally themselves. Provided with a 
good design the worker need only " go 
ahead," for she is right. Fine felt, flan- 
nel, cloth, Canton-flannel and Turkish tow- 
elling are all called into service for the 
cover proper, while all these materials, with 
silk, plush, fancy stitches,7f/(yj't'//i? and crewels, 
add to the ornamental part. Very simple 
tables of pine wood, with ebonized legs, be- 
come works of art, and dainty rattan ones 
gain new beauties. There are few houses 
without unsightly tables that are absolute 
necessities, and these a mantle of beauty 
should cover, so that use and beauty may 
form the proper partnership. 

Table, with Fancy Cover. 

Figure No. i. — The table illustrated is 
of rattan, the size being such that it commends 
itself to people who have all sorts of little 
things seeking for a resting place. The cloth 



is of the proper size to hang over the edges 
gracefully. It is of dark red felt, with its 
edges cut out in large points that round 
slightly, each one being ornamented with an 
applique design and tipped with an olive 
tassel of silk. At each corner, near the lower 
shelf, the slender legs are ornamented with 
a bow of satin ribbon. The applique pieces 
are securely button-holed to the cloth with 
bright yellowyf/(«r//f. They are of fine felt, 
which is found the best material for such 
purposes, as it does not fray. E\ en when the 
cloth is of the other materials suggested, the 
pieces are usually of felt. Following are 
descriptions of the pieces, which are pleasingly 
varied in design. 

Appliqu^ Design. 
Figure No. 2. — A dark shade of blue is 
used for this fan, while the embroidery is 
wrought out in bright yellow and dull brown. 
On one side the effect is Chinese and cabal- 
istic enough to delight the soul of her who 
is most eager for all that comes from Celestial 

lands. 

Applique Design. 

Figure No. 3. — This broadly shaped fan 
is of light olive felt, with the embroidery upon 



4° 



NeeDLG AND B^^SM- 



it done in liglu and dark cardinal filoselle. are all familiar ones, being the outline stitches 




Figure No. i. — Tahle. with Fancy C(jver. 





Figure No. 2. — Ai'i'i,i(,)rE nEsiGN. Figure No. 3. — Aim'I.kjue Design. 

The stitches employed in performing the work general!}- known as the South-Kensington. 



NeeDLe and gi^as^- 



41 



Applique Design. brown, cream and very light blue. In cut- 

FiGURE No. 4. — This slender fan design is ting out these appliques, it would be well 

of the light red shade so often seen on to remember that very sharp scissors should 




Figure No. 



-AiM'i.Kji'E [Resign. 








Figure Nu. 5. — Ati'lhjue Design. 




Figure No. 6. — Arri.iQUE 1)esu;n. 







Figure No. 7.— AritiQUE Design. 



Turkish embroidery and to which it owes its be used, so that the edges will be perfectly 
present popularity. The work is done in smooth. 



42 



NeeDLG AND 5P<a$H. 



Applique Design. 

Figure No. 5. — A fan of cream-white, 
embroidered in dark brown, forms a de- 
cided and pleasant contrast when compared 
with the others illustrated. The favorite 
cat-tail is blooming, while with several strokes 
of the needle a beaming Sol is represented, 
shining down upon it. 

Appliqu^ Design. 

Figure No. 6. — A shape that will be 
decidedly suggestive to the good and bad 
housekeeper alike, and which to one brings a 
smile and the other a frown, is of pale blue, 




Figure Xo S. — Applique Design. 

scarlet and light yellow, giving to it more 
ornamentation than is accorded the article 
it so well represents, though it is, after all, a 
queer shaped Indian fan and not the more 
homelv broom for which it might well be 
taken. 

Applique Design. 
Figure No. 7. — A folding fan, opened to 
its extreme dimensions, is of ecru in its 
deepest shade, properly embroidered with 
bright cardinal and pale cream. The tiny 
flower at the top of each point tends to give 
the fan a wonderfullv realistic effect, but 
does not prevent it from being fashionably 
aisthetic. 



Applique Design. 
Figure No. 8. — The seeker after Oriental- 
ism will be delighted with the crescent, which 
is of dull yellow and has dark and bright blue 
stars worked upon it, fully embodying the 
Eastern idea of the star and the crescent. Al- 
though this design is not visible upon the 
table cover it may be used for the embellish- 
ment of such an article with good effect. 

Appliqu^ Design. 

Figure No. 9. — The palm leaf fan is more 
exactly shown by having its miniature handle 
wrapped to look like the wood itself. Dull 
plum color is chosen, and the somewhat 








Figure Ni>. 9. — Applique Design. 

elaborate work on it is in blue and pale pink. 
If an entirely realistic effect should be desired, 
pale straw-colored felt may be used instead of 
the darker shade. In such a case, the silk 
would correspond in tone, the result being 
very pretty. 

Embroidered Table-Cover. 

Figure No. 10. — -This engraving portrays 
a table-cover that is novel in shape and very 
beautifully decorated with an embroidered 
border and a fringe of pompons. The cover 
is of plush, and is intended for an oblong 
or square table. It is cut in a large scollop 
at each side, the scollops falling at the sides 
in simulation of drop leaves. I'he scollops 



NeeDLe and gj^as^- 



43 



may be lined with the material or with satin, course, any other design preferred by the 
Surah, silk, etc. ; and any kind of fringe or worker may be embroidered instead, or the 
ornaments mav be added (o tlie edges. I'iie decoration may be cii applique. 




Figure No. io. — Emuroidered Table-Covek. 





Figures Nos. ii and 12.— Designs eor Emhroidekv on Tahle-Cover. 



correct sizes of the flowers and leaves forming Designs for Embroidery on Table-Cover, 

the embroidery design used in this instance Figures Nos. ii and 12. — The Hower 

are "iven at Figures Nos. 11 and 12: but, of and leaf designs decorating the table-cover 



44 



NeeDLG AND gf^tiS"- 



pictured at Figure No. lo are here shown in plain stitch, as illustrated, for the petals, and 
full size. The leaf may be worked in Ken- the knot stitch for the center. The leaves 




KicuKE No. 15. — Cover for Dim.nc-Room Tahle. 




DiACRAMS A. K ANO C— S ECl ION-, lOK DksK.N ().\ T A IM.E-CoVER. 



sington or other embroidery stitch, but the may be cut from velvet, plush or cloth and 
flowers are done with a long loop and short applied, if preferred to embroidery. The 



NeeDLG iiND gi^a$H. 



45 



stitches referred to are very clearly illustrated Cover for Dining-Room Table. 

ill the present flower design, and are easy to Figure No. 13. — This handsome cover is 

accomplish. for the table when the dishes and other rem- 

Appliques do not require extreme care in nants of a repast have been removed. It is 

their attachment, and it is not so difficult to made of billiard cloth, and its border deco- 



"V? ''V'' %^' ^' 'W "V ''i 

/^ M i\ (^'S f% A^ 

FlCURE No. I 



'5 -^ ,1 .^^1 






Figure No. 16. 
Figures Nos. 15 and 16. — Fancy Stitches. 




Figure Nu. 14. — Table-Cover. 



achieve a good result with them as with ration is produced by a vine-like arrangement 

embroidery; consequentlv the novice who is of branches laden with pears and leafages all 

doubtful of success with the more elaborate en applique. The brandies and stems are 

varieties of needle-work will do well to begin done in Kensington stitch, and the pears and 

her efforts by learning how to apply them. leaves are cut from velvet or plush and 



46 



NeeDLG AND 5i^a$H. 



applied in a gracefully natural manner. The 
shape and size of the pears and the leaves 
required are shown by diagrams A, B and 
C. The veining of the leaves may be done 
with filoselle, crewels or silk. If desired, the 
leaves may be embroidered. The simplest 
wav to produce a graceful effect is to outline 
the pattern on the cloth and then baste on 
the leaves and fruit. Some of the pears may 
be green and some golden-yellow, or any 
combination of colors natural to the pear may 
be achieved. Felt-cloth, momie cloth or any 
preferred materials may be used for the cover. 
The edges may be pinked, fringe-trimmed or 
left plain, as preferred. 

Sections for Design on Table-Cover. 

Diagrams A, B and C. — The correct size 
and shape of the pears and leaves for decorat- 
ing the table-cover shown at Figure No. 13 are 
furnished by these diagrams, and the lines for 
veining are also shown. Tissue or tracing 
paper may be used to duplicate their outlines, 
and these designs wUl be found quite as 
valuable as guides in doing all varieties of 
outline work as for the purpose illustrated, 
and very much more novel than stereotyped 
patterns. 

Table-Cover. 

Figure No. 14. — For a square or oblong 
table this is a handsome and elaborate-look- 
ing cover. The material is cloth of dimen- 
sions to hang gracefully deep at all sides of 
the table. A wide band of velvet is arranged 
a little above the edges and fastened down at 
its edges with fancy stitches done with con- 
trasting silks. It is also richly embroidered 
near the top and bottom with simple stitches, 
which only require care in producing a very 
elaborate and pretty effect. The stitches 
used are illustrated at Figures Nos. 15 
and 16. The cloth may be of any pre- 



ferred color, and the band may be in very 
striking contrast and of ribbon, plush, velvet 
or any preferred material. Sometimes a 
contrasting shade in the same material will 
be used, with very pretty eifect. The stitches 
may be done with one or many colors. 

Fancy Stitches. 
Fi(;uRES Nos. 15 and 16. — These engrav- 
ings ilhistrate the stitches used in decorating 
the table-cover shown at Figure No. 14. 
They can be very easily copied and may also 
be classed among the stitches used for crazy 
work. 

Table, with Cover. 

Figure No. 17. — A small table, with elabo- 
rately carved ebony legs will be found much 
more decorative when its cover is also orna- 
mental. T'he one illustrated is formed of 
alternate pieces of cardinal plush and pale- 
blue satin, embroidered and trimmed with 
chenille fringe, tassels and cord. The 
arrangement of the pieces may be perfectly 
seen in the engraving, the fitting-in and 
finishing of each one being perfectly percep- 
tible. A lining of Silesia is used to mount 
them upon, and each one has a chenille cord 
between it and the next. Applique designs 
may be used with as good a result as if the 
sections were hand-embroidered. 

Section of Cover. 

Figure No. 18. — This section is of the 
plush, embroidered in yellow silk to simulate 
miniature sunflowers. It is the shape of that 
portion of the cloth that fits in each corner, 
four being cut after this shape. 

Section of Cover. 

Figure No. 19. — This section is part of 
the lambrequin-like portion of the cover, it 
being the one that falls immediately over the 
front. Similar sections are at each side and 



nggDlg and bhqsh. 



47 



in the back. It is of the satin, and is worked here illustrated. The material is satin, and 
in yellow silk to simulate young leaves. the design a glowing red liliaceous plant, with 





1-iGUKE Nu. 17.— Taule, with Cuver. 



Section of Cover. its attendant leaves. Any preferred selection 

Figure No. 2o.-The center section is of colors for the embroidery may be made. 



NeeDLG AND BHtl$H. 



Section of Cover. 

Figure No. 21. — One of the square sec- 
tions is here shown, being of the plush em- 
broidered in purple grapes and green leaves. 
Much taste may be shown in shading the fruit. 

Section of Cover. 
Figure No. 22. — This pointed section is 
of the plush wrought in dark green and scar- 
let, the work bringing forth bright berries and 
leaves. Four such sections are used, and 
they constitute the side pieces of the drooping 
portion of the cover. 



silk with felt or plush, may be combined in a 
table cover of this kind, and the center por- 
tion may be embellished with hand-painting, 
embroidery or applique's, if a very elaborate 
effect be desired. Knot stitches done with 
tinsel thread may be substituted for the 
spangles. 

Grecian Border. 

Figure No. 24. — This engraving represents 
a Greek key pattern, traced by two lines of 
gilt braid. The pattern is either traced on 
tissue paper, which is basted over the portions 






^:. . /?pi 



Fh.l'rk .\i>. 21. Figure No. 22. 

Figures Nos. 18, 19, 20, 21 and 22. — Section.s of Cover Shown .\t Fku're No. 17. 



Table-Cover. 
Figure No. 23. — Two shades of felt-cloth 
are combined in this handsome table-cover, 
the center portion being tut with undulating 
edges and decorated with small gilt spangles 
arranged in groups of three. Strips of velvet 
ribbon of varied lengths are applied and deco- 
rated with fancy stitches done with tinsel 
thread. Spangles are sewed below the long 
stitches applying the strips at the ends and 
the nearest two strips at each side. The 
edges of the cover are finished plain. Two 
shades of plush, felt and plush, or satin or 



to be adorned, or it is stamped on the goods. 
The braid is then carefully stitched by ma- 
chine or hand to the article, the strictest preci- 
sion being observed in turning the corners. 
The paper, if used, is now torn away, and gilt 
beads or spangles are sewed between the 
lines of braid with sewing silk, so coarse that a 
single stitch will suffice to hold them to place. 
After fastening one bead, pass the needle to 
the place where the next one is to be sewn, 
long needlefuls of silk being preferable for the 
purpose, as the less frequently a new thread is 
started the smoother will appear the surface. 



NeeDLG AND B^tlSH. 



49 



This pattern is easily and very rapidly done, used for elegant coverings of this style; and 

and is adapted to table and piano covers or the fringe may be of worsted chenille tipped 

scarfs. with acorns, or of ball, tassel, fiy, finger 

or any other variety preferred. A very 

Table-Cover. elegant cover of this style is of olive felt-cloth 

Figure No. 25. — This beautiful cover is with a deep border of water-lilies and cat-tails 

made of olive-green cloth and is oblong in embroidered in their natural colors with 

shape. It is edged all around with a row of crewels, and a row of pretty worsted-chenille 




Figure No. 23. — Tahle-Covkr. 



handsome ball fringe, and has an applique'ed 
border consisting of daisies, cat-tails and 
bitter-sweet berries arranged in artistic order 
and in their natural colors. For square or 
oval tables, the cover is very handsome ; the 
former style of table requiring a perfect square 
of cloth. Plush, Turkish towelling, momie- 
cloth, felt-cloth, satin, velvet and silk are all 



fringe tipped with golden acorns. The lilies 
and cat-tails may be appliqueed, if preferred ; 
or they maybe formed of bead-embroidery, 
A great many illustrations of designs adapted 
to the decoration of such covers are given in 
this book and personal taste may be made 
umpire in deciding which is best adapted to 
the color and purpose of any s]:;ecial cover. 



5° 



NeeDLG ANi:) gi^tis"- 



The Grecian border illustrated is adapted cord upon velvet or plush, and it possesses 
to the decoration of any variety of table-cover the advantage of being rapidly executed. 




Figure No. 24. — Grecian Border. 



^^/3 




Figure No. 25. — Table-Cover. 

large enough to form a background for it. When done with outline-stitching between two 
It is very effective when developed in metallic rows of metal cord, it is quite unique. 




NeeDLG AND SH^s^* 



51 







CHAPTER VI. 



FAPGY LAMBREQDinS. 




HERE is scarcely a table or 
shelf so uncompromising in 
construction that it cannot be 
tjmi made attractive by being taste- 
ili mM fully draped, and the engravings 
in this department offer many sug- 
gestions which tasteful ladies will 
value. Among the pretty things in the way of 
decorations are peacock-feathers in their 
beautiful tin tings, and they are used to em- 
bellish everything. Door-panels, lambrequins, 
table-scarfs, etc., are rendered beautiful and 
quaint by them, and they may either be 
painted or embroidered, or the real feathers 
may be applied, with very artistic results. 

Lambrequin for a Fancy Table. 
Figure No. i. — A beautiful lambrequin for 
a table to ])old statuary or bric-k-brac is here 
illustrated. It is of felt-cloth of a hunter's- 
green shade, and is made wide enough to 
cover the top of the table. The lower edge is 
cut in large scollops, which are very narrowly 
bordered with peacock-blue cloth, prettily 
pinked, and the lambrequin is elaborately 
embroidered in an artistic design of peacock- 
feathers in natural tintings. Between the 
scollops are fastened pendent cones of pea- 



cock-blue silk. Velvet, plush, silk, satin or 
any fabric preferred may be employed for the 
lambrequin, and, if desired, the edge may be 
plain, with fringe the shade of the cover as 
a bordering. The method of embroidering 
the peacock-feathers is described at Figure 
No. 2 of this chapter. 

Embroidered Peacock-Feather. 
Figure No. 2. — The proper colorings for 
this design may be obtained from the natural 
feather. The flues, eye and stem are all done 
in the Kensington stitch. Very effective and 
artistic groupings of these feathers in embroid- 
ery may be secured. 

Lambrequin for Table. 

Figure No. 3. — This pretty lambrequin, 
especially suitable for either brackets, small 
shelves or tables, is made of alternate pieces 
of dark-blue velvet and pale rose-colored satin. 
On the velvet sections are applied flowers and 
leaves of pale-blue, while on the satin ones are 
geometrical designs wrought out in pearl 
beads. Gilt rings are pendent from each 
point and from them fall full silk tassels of 
the blue shade. Gilt crescents may be used 
instead of the rings, and an equally good 
effect will be obtained with them. Silk-fin- 



52 



NeeDLG AND 5i^a5H. 



ished Silesia will be found the most desirable of this illustration before folding. They are 
lining for such a lambrequin. then folded as shown, and a narrow seam is 




FuiUKE No. I. — La.mi!Ri:(>uin i-or a Fancy Tahle. 



Section of Satin Flower. taken, holding them together at the top and 

FiGURK No. 4. — To form tlie satin flower on slightly at the sides, after which they are 
the lambrequin, pieces are rut the shape turned inside out. 



NeeDLG AND BHtl$H. 



53 




Figure Xo. 2. — Emhk(jidekkli Peacock-Feather. 



* ^ 



54 



NeeDLG AND B^tiSH. 



Section of Satin Flower. A little deftness in turning it is required, so 

Figure No. 5. — This illustration shows the that, when completed, it may display the 




Figure No. 3. — Lambrequin for Table. 





Figure No. 4. — Section of Satin Flower. 



Figure No. 5. — Section of Satin Flower. 




Figure No. 6. — Saiin Kujwkk for Lambrequin. 

petal after it is turned, and a few stitches, curled leaf effect noticeable in the petals of 
drawinir it sliirhtlv, are taken at the bottom. natural roses. 



NGeDLe AND 5i^a$H. 



55 



Satin Flower, for Lambrequin. stitch and with pale-green silk, while the 

Figure No. 6. — The flower is here shown leaves are cut out of the satin and then 
with its petals joined together and a natural- applied. 




Figure Nu. 7. — Fancy LaimbrequiiN. 




/ 



Figure No. 8. — Xelvet and Plush J.A.MiiKE<juiN. 



looking center formed by several stitches taken Fancy Lambrequin. 

in knot fashion with pale-yellow silk. The Figure No. 7. — A handsome lambrequin of 

stems are done with embroidery silk in stem plush and satin is here illustrated. The plush 



56 



NeeDLG AND 5H^S"» 



sections are embroidered with tioss, the al- 
ternate sections showing different designs. 
Golden-rod or sumach and fern leaves make 
one effective combination, and daisies and 
grasses the other. The satin sections are 
feather-stitched about their edges, and all the 
sections are joined together by over-and-over 
stitches made on the wrong side. A lining of 
silk, Silesia, Surah or any preferred fabric is 
added' after the parts have been joined, the 
result being very neat and pretty. A hand- 
some tassel tips each lambrequin point and 
may be of the color of the plush or satin, as 
preferred. Any two colors or fabrics pleasing 
to the taste may be made up into such lam- 
brequins ; felt-cloth and satin or plush, velvet 
and satin, or two shades of velvet, plush, satin 
or cloth combining handsomely in such articles. 
Such a lambrequin may be used for draping 
mantels, brackets, shelves, tables, flower- 
stands, etc., with very beautiful results. 



Velvet and Plush Lambrequin. 
Figure No. 8. — While suited to tables or 
cabinet shelves, this lambrequin is especially 
adapted to mantels. It is composed of alter- 
nate sections of pale-gray velvet and deep- 
crimson plush. The pieces are lined with 
Silesia, so that no hem is necessary ; the velvet 
ones having the points tipped with dark-crim- 
son tassels, while the plush ones are finished 
with a full feathery fringe the same shade. 
On the velvet sections are embroidered in 
South-Kensington stitch elaborate designs of 
flowers and buds, humming-birds and butter- 
flies, that add much to the beauty of the 
drapery. A similar lambrequin, less expen- 
sive, might be made of felt in contrasting 
colors ; or one showing velvet and satin would 
be in good taste. If light materials are used, 
it will be found best to put some weight in the 
lower edge to keep the lambrequin from 
swavino- to and fro. 



%■ 



XX Wx 



v 



A^ 






NeeiDLG AND 5^a$H. 



57 




mMrnm} 




CHAPTER VII. 



SIDEBOARD MB SHELF DRAPERY. 




NE of the most desirable req- 
uisites of any decoration 
arranged upon a sideboard 
is that of laundering well, 
and this requisite is quite 
possible in both simple and 
expensive scarfs because 
cotton and linen and also silk for embroider- 
ing are now obtainable in fast colors, at a 
moderate price. Purleite applied with either 
silk or linen thread forms an effective decora- 
tion for any variety of linen scarf. Drawn- 
work and netted fringe, which may be devel- 
oped without adding anything to the cost of 
the work, are also very effective. 



Sideboard and Scarf. 



as they not only protect the wood, but are 
also very decorative. Linen may be used, 
but, for its creamy hue and capability in the 
way of being fringed, preference is often 
given to the more accommodatine: scrim. 



Embroidery Design for Scarf on Sideboard. 

Figure No, 2. — This pretty design will not 
only be in good taste for 'the scrim scarf, but 
it will also be found available for chair-scarfs, 
serviettes, tray-covers and, indeed, any of the 
articles that seem to need a border or a line 
of embroidery. It is usually worked in scar- 
lets and greens, but the berries could be 
made a reddish brown, with a very good 
result. 



Shelf-Drapery. 



Figure No. i. — A sideboard of cherry, 
upon which is placed some of the pretty 
plates and bits prized by the mistress of the 

house, is here shown. The scarf laid across Figure No. 3. — The shelf, as represented, 

the top is of scrim, heavily fringed at each will be found a decorative adjunct that \vill 

end and embroidered in scarlet and green tend much toward furnishing. The material 

crewels, the pattern being that of holly berries used is cardinal cloth, which is first smoothly 

and leaves. Such scarfs are much in vogue, but securely tacked to the surface of the shelf 



NeeDLS AND B^^S^- 



or table. The lambrequin-like drapery is cut securing it, suggests the more secure fasten- 
out, and has appliqueed upon it sunflowers ing which it really hides. Cloth, felt, velvet 




FiGURi; No. I. — SiDKBOARD AND SCARF. 



and fern-leaves in their natural colors. A or plush may be utilized in making such 
narrow band of velvet, with gilt-headed nails covers. The felt flowers and leaves may be 



NeeDLG AND BRtiSM. 



59 



procured at any fancy store and are easily dainty cover upon a shelf dressed like this, 
applied, and for such purposes are more one cannot but appreciate how much actual 




Figure No. 2. — P^mbroidery Desicn for Sgauf on Sideboai;i). 




Figure No. 3. — Shelf-Drapery. 

effective than fine embroidery. The edges beauty may be produced at very slight ex- 
are bound with velvet, but, if desired, they pense and with little trouble to willing and 
may be pinked. As the book lies open in its deft hands. 



. V. r j~i nr r-" t^^ "^^ ^^^ ^^ '"'^ '"'^ '^^ '^''"'T?* :■'• 



t?^^c<Jt 



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6o NeeDLG AND SHQSM. 






This new and beautiful nielhod of deco- 
rating Armenian pottery, vases, bottles, um- 
brella-stands, picture-frames, etc., is done in 
the following manner: The lava comes in 
cans ; the top of the can is made of thin tin 
and over this is a loose cover of thick tin. 
Remove the outside cover and cut the thin 
tin close to the side all round. When not in 
use place the loose cover tightly over the can. 
See that the surface of the vase or bottle to 
be decorated is thoroughly clean and dry, and 
cover it lightly with gum shellac ; then apply 
the lava with a palette-knife, spreading on a 
coating about an eighth of an inch thick. 

The next step is to produce a network of 
raised figures or designs in the lava. This is 
done by marking or scoring the surface with a 
sharpened pencil, the point being held firmly 
in the vase and moved about in a series of 
irregular curves ; a series of ridges is pro- 
duced by tangled scroll-work over the entire 
surface. When the marking is completed 
the article should be set aside to harden, 
which will take twenty-four hours. 

When perfectly dry, apply a coat of lacquer 
evenly over the entire surface; this will dry 
in two hours, 'i'lm lacquer comes in three- 
ounce bottles, and costs twenty-five cents. 
The work is now ready for the last coat, 
which ma\- be any color of gold or bronze 
paint or any luster shade. 






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NeeDLG AND gp^asH. 



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CHAPTER VIII. 




S A G H E T S 



REFINED preference for 
faint aromas rather than for 
strong scents makes novel 
shapes in sachet cases for 
holding the delicate powder 
eagerly sought for, and 
ladies who have many of 
these pretty trifles always 
desire more. This chapter illustrates and 
explains a number of pretty sachets. 

Sachet. 
Figure No. i. — Three varieties of pretty 



cornered, and applied points of ribbon deco- 
rate one side, while the bottom is decorated 
with ribbons gathered to the lower corners 
and tied together near the left corner. Scraps 
of fancy silks, velvets or ribbons may be thus 
utilized, and frequently the three will be seen 
in one sachet. Of course, the customary fill- 
ing of cotton, well-sprinkled with sachet-pow- 
der, is requisite, but it should not be too 
compact. 

Japanese Sachet. 

Figure No, 2. — This engraving illustrates 




Figure No. 1. — .Saciikt. 



ribbon are joined to form this beautiful a double sachet, which is made of a Japanese 
sachet, and fancy stitching- in colored silk is napkin showing an artistic design in pretty 
made along the seams. Tlie shape is three- colors. The napkin is folded double, joined 



62 



NeeDLG AND gl^GlSH. 



at the sides and ends, and lightly filled with is pushed toward either end, the ribbon divid- 
cotton well-sprinkled with the favorite sachet- ing the sachet into two parts. The napkins 




Figure No. 2. — Japanese Sachet. 





Figure No. 3. — Ribbun Sachet. 



Figure Nv. 4. — Fancy Sachet. 



powder. A ribbon is tied tightly in a bow may be procured in great variety of sizes and 
about the center of the napkin, and the filling designs, and they cost very little. Such 



NeeDLG AND gi^as^- 



63 



sachets may be used like a chair scarf, or they 
may be fastened wherever they will be effec- 
tive. The ribbon may be of any preferred 
color, violet and heliotrope being used with 
sachets of those perfumes. 

Ribbon Sachet. 
Figure No. 3. — Two shades of ribbon are 
united to form this sachet, which is in bag 
shape, the ribbon being joined by fine over- 
and-over stitches and the joinings decorated 
with fancy stitchjng done with different col- 
ored silk. The ends of the ribbon are rav- 
elled to form a deep fringe, which falls over 
in a cascade on either side. The basr is filled 



bag is faced with silk, and far enough below 
the top to form a full, pretty frill ; it is closed 
by a wide feather-edged ribbon that is grace- 
fully tied in an immense bow, the words 
"Birthday Greeting" embroidered in bullion 
decorating the loops. Any preferred colors 
may be selected for the sachet, three shades 
of heliotrope, green, blue or yellow being 
especially effective. The ribbons may be of 
different colors. 

Sachet. 

Figure No. 5. — A plain India silk hand- 
kerchief or a square of India silk hemmed at 
the edges may be used for this exhaler of 




Figure No. 5. — Sachet. 



with cotton well-sprinkled with the favorite 
perfume powder, and is tied in with narrow 
ribbon of the two shades, the ribbon being 
tied in many long loops and ends. Any pre- 
ferred colors may be chosen, and the ribbon 
may be of one or two varieties, the width 
depending upon the size of the sachet. 

Fancy Sachet. 
Figure No. 4. — Three shades of grosgrain 
ribbon are used in this sachet. The ribbons 
are frayed to form a deep fringe at the bottom 
and are joined to form a bag which is filled 
v.'iih cotton, well-sprinkled with the favorite 
perfume powder. Fancy stitching is made on 
either side of all the seams ; the top of the 



delightful odors. The sachet is filled with 
cotton well-sprinkled with perfume powder, 
and tied together as pictured, the ends being 
spread out and eacii decorated with a different 
design done in Kensington outline or satin 
stitch in suitable colors. The correct sizes 
for the designs are given at Figures Nos. 6, 7, 
8 and 9. The handkerchief or silk may be of 
any preferred color. 

Embroidery Designs for Sachet. 
Figures Nos. 6, 7, 8 and 9. — These 
designs are the proper size for the sachet 
pictured at Figure No. 4, and may be done in 
satin stitch, solid Kensington or outline stitch, 
or they may be painted, as preferred. The 



64 



NSeDLG AND SI^QSH. 



designs are also handsome for decorating closely, and tied together at the top with 
other articles, such as mouchoir and glove ribbon in two or three contrasting colors, 
cases, scarfs, tidies, etc. Each bag may be of a different color, or all 




Figure No. 8. 



Figure No. 9. 



Sachet Card-Receiver. rnay be of one color, as desired. The bags 

Figure No. id. — This unique card-receiver are filled with cotton, thickly sprinkled with 

is composed of three satin bags drawn in sachet powder, and at the bottom of each 



NeeDLG AND SHa$H. 



6s 



bag are formed two compartments for cards. effect is produced by leaving the compart- 

Tlie bags may be elaborated with floral or menls plain. Satin, silk, velvet, plush, etc., 

other embroidery designs, or the cards in the will be handsome for accessories of this kind, 

compartments may be specified in prettily and any preferred combination of colors may 

embroidered or painted letters on each bag. be realized. 




Figure No. io. — Sachet Card-Receiver. 



Figure No. ii. — Hanukerchief- 
Case, Closed. 




Figure No. 12.— Handkerchief-Case, open. 



One or all of the compartments may be deco- Handkerchief Case. 

rated with embroidery or hand-painting, but Fir.uRES Nos. 11 and 12. — This is a very 

if the bags are elaborately decorated the best pretty and popular receptacle for one's hand- 



66 



NeeDLG AND 5H^$H. 



kerchiefs. It is made of corded silk and the case was selected from Kursheedt's Stand- 
lined with quilted satin of a delicate color. ard floral appliquees. A strap of ribbon, the 
At Figure No. ii the case is shown closed, color of the quilted satin, confines the ends of 
while at Figure No, 12 it is seen open, with three strips of ribbon, on either side of the 




Figure No. 13. — Completed Grape. 





Figure No. 14. — Showing the Exact Size of 
Each Grape Section, and Illustrating the 
Method of Making the Grape. 



Figure No. 15. — Grape-Sachet. 



the handkerchiefs properly placed. A quille folding of the case, the ribbons extending to 

of ribbon borders the case on both sides, the the corners and the center of the front edges, 

colors matching the materials. The spray where they are gathered under the .quille. 

of flowers appliqueed on the upper side of Tlush, velvet, Surah, etc., may be used and 



NeeDLG AND ^i^a^H. 



67 



the lining may be of plain Surah or satin, and are shown by Figure No. 14, which also 

amply wadded. Of course, it is understood plainly illustrates how each section should be 

that it is always well sprinkled with the favor- "run" all around near the edge for gatherino- 

ite sachet-powder of the possessor. it. The gathering thread is drawn up as 



f 












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'1' 



FiGURK No. 16. — Sachet. 




Figure No. 17. — Ribbon Sachet. 



Grape-Sachet, and Method of Making It. 
Figures Nos. 13, 14 and 15. — These en- 
gravings illustrate a pretty and artistic nov- 
elty in sachet cases, and also show how 
exceedingly simple is the construction of this 
dainty perfume-holder. The exact shape and 
size of the sections used in making the grapes 



tightly as possible, and the little bag thus 
formed is filled with cotton lightly sprinkled 
with any favorite sachet-powder. A piece of 
wire is inserted for the stem, and then the 
grape is in the complete forn> pictured by 
Figure No. 13. When a suitable number of 
grapes have thus been made, they are grace- 



68 



NeeDLS AND 5i^ti$H. 



fully clustered on a rubber stem taken from 
an artificial flower-spray, as pictured at Figure 
No. 15. The grapes should hang in abun- 
dance from the stem, and the leaf may be an 
artificial grape-leaf or may be cut from plush, 
velvet, felt cloth, etc., and have veins embroi- 
dered with silk or floss. Deep-prune, dark- 
claret, wine, black and dark-blue are suitable 
colors for such cases, and the material may be 
silk, satin or Surah, as preferred. When 
proper colors are selected, the case looks like 
a realistic bunch of this very delicious 
fruit. 

Sachet. 

Figure No. 16. — For the bottom of the 
bureau drawers this pretty sachet is intended. 
It is cut the size of the floor of the drawer 
and may be of silk, satin, Silesia, cambric, 
cre'tonne, etc., and edged all round with cord. 
Layers of cotton sprinkled with perfume 
powder are added, and the upper side is 
decorated with tufts of embroidery silk. 

Ribbon Sachet. 

Figure No. 17. — A very dainty perfume- 
holder is here illustrated. Two pieces of 
wide ribbon, baby-blue in color and each 
about five-eighths of a yard in length, are 
sewed together to within about five inches of 
the ends, the seams being drawn slightly so 
as to produce a little fulness. The parts are 
also joined between the ends of these seams, 
the bag thus formed being filled with cotton 
thoroughly sprinkled with the favorite sachet 
powder. The ends are carefully frayed out 
and fall in the full, fluffy cascades pictured in 
the engraving. Upon one or upon each side 
of the sachet in the lower right-hand corner, 
is embroidered a pretty sprny of daisies, 
golden-rod, etc., and at the top, d>;eclly at 
the center of the seam, is fastened a very 
large, full-looped bow of Bordeaux satin 



ribbon ; the bright yellow of the golden-rod, 
the gold and white of the daisies, the deep 
greens of the foliage and the deep rich red 
of the ribbon contrasting very beautifully 
with the delicate blue of the article itself. Of 
course, any combination of colors may be 
selected, and the design may be hand-painted 
instead of embroidered, or any other design 
may be adopted. The exact size of the spray 
and the method of embroidering it are 
illustrated and described at Figure No. 18. 

Spray of Wild Flowers. 
Figure No. 18. — This handsome spray is 
used in embroidering the ribbon sachet illus- 
trated at Figure No. 17. It may, however, 
be selected to decorate table-scarfs, lambre- 
quins, book-covers, etc., and is given in about 
the correct size of the flowers. The petals of 
the daisies may be formed of white ribbon or 
of solid embroidery, and the centers of golden 
floss in knot stitch. The golden-rod should 
be done in chenille stitch to look natural, and 
the stems, leaves, and bud in South-Kensing- 
ton stitch. Only the outline of the design 
is given, so that the entire effect need only be 
outlined. Pale blue ribbon is used for corn- 
flowers. 

Ribbon Sachet. 
Figure No. 19. — This dainty perfume- 
holder is made of two shades of ribbon woven 
in basket fashion. The foundation of the 
article may be a piece of cardboard, the 
ordinary blotting-paper covered, bag-like, 
with canton flannel or sheet wadding thickly 
sprinkled with whatever kind of sachet-pow- 
der is preferred. Fancy stitches are done 
with embroiderv silks of different colors at 
the corners of the squares, but usually these 
sachets are finished without the stitches and 
are equally pretty when they are omitted. 
Bows of ribbon are fastened to three corners 
of the sachet, and a ribbon for suspension is 



NeeDLG AND BR^SH. 



69 



fastened al the remaining corner. The addi- features of the affair. Two contrasti 




Figure No. 18. — Stray ok Wild Flowers. 
tion of the bows is one of the most ornamental colors are most effective in articles of this 



7° 



NeeDLG AND SH^S"' 



kind, though sometimes only one color is 
used. Orange and white, pink and blue, 
olive with gold or crimson or blue, purple 
with lavender, green with crimson or gold, 
and blue with gold, pink or canary, are all 
effective. The width of ribbon selected is 
No. 3. Such sachets are often completed 



above the fringe, with two shades of very 
narrow picot ribbon bunched in many loops. 
A row of beads conceals the joining seams, 
and the filling of cotton is well sprinkled with 
the favorite powder. Any two colors or 
shades may be combined in sachets of this kind, 
personal taste being the arbiter in such matters. 




Figure No. 19. — Ribbon Sachet. 



without the fancy stitching, and to some 
tastes the less elaborate effect is the more 
refined. 

Sachet. 

Figure No. 20. — Four strips of wide 
ribbon in two contrasting shades are joined 
to form this pretty sachet. They are deeply 
fringed at their ends and tied in tightly, just 



Violet Sachet. 

Figure No. 21. — This dainty sachet is 
made of two strips of violet ribbon joined at 
the long edges and carefully fringed at the 
ends, the fringe being visible beyond a ruffle 
of deep lace, which turns toward it over the 
seaming. The filling may be done with 
cotton sprinkled with violet orris root, or dried 
violets may be used and a bunch of artificial 



NSeDLS AND 5Ha$H. 



71 



violets be fastened near one corner at the also may be painted. An}- colors of ribbon 
top. The words '-'Sweet Violets" are embroi- may be used, thougli the violet shades are 




Figure No 20. — Sachet 




Figure No. 21. — Violet Sachet. 




v^ 



Figure No. 22. — Word Uecuration' for a Violet Sachet. 



dered in silver thread and are shown in a more suggestive of the fragrant perfume of 
graceful lettering at Figure No. 22, They which the sachet is redolent, and are, there- 
may be painted if preferred, and the flowers fore, more in harmony with the ensemble. 



72 



NeeDLG AND gl^QSH. 



Sachet Bags. together as illustrated, and their opposite 

Figure No. 23. — A very unique arrange- corners tacked securely to each other. The 

ment for holding sachet powder is illustrated floral design is of course painted on each 

by these two bags which are filled with section of material before it is made up into 




Figure No. 23.— Sachet Bags. 

■0 >.. 



Figure No. 24. — Sachet Bac. 








Figure Nu. 25. — Sachet and Pincushio.n. 



cotton that has been sprinkled with violet bag shape, as is also the Greek key design on 

powder, and then tied in miller's fashion at the darker one. The ornamentation may be 

their tops. One bag is of light silk and the embroidered instead of painted, and any other 

other of dark satin, and the two are laid design admired may be selected. 



NGeDLG AND BH^S". 



73 



Sachet Bag. 

Figure No. 24. — The bag is made of a 
square of muslin, Silesia, sateen or cambric 
folded triangularly, sewed up and filled with 
cotton well sprinkled with the favorite per- 
fume. The cover is a larger square of silk 
fringed out at two edges, just enough to leave 
the unfringed portion the same size as the 
square forming the bag. The silk section is 
then similarly folded, with the fringe to fall 
beyond the edges ; and the corners are tacked 
under pretty bows of ribbon. Watered, plain, 
striped or figured silk or satin or wide fancy 
ribbon may be used, and may be of dainty or 
bright colors to please the fancy. The 
sachet may be large or small, as preferred, 
and may be decorated with hand-painting or 
embroidery. 

Sachet and Pincushion. 

Figure No. 25. — This pretty cushion is 



made of scarlet satin and finished around the 
edges with a box-plaiting of Languedoc lace. 
Just above this, on the upper side, is flatly 
applied a bordering of lace, looking well on 
the rich background. In the upper left-hand 
corner the satin is turned back, showing a 
corner of yellow satin on which is painted a 
spray of flowers. Ladies not understanding 
the use of the brush can carefully, and with 
as good a result, transfer one of the decalcoma- 
nie or French Art pictures to the place where 
it is needed. In order to make this pincushion 
and sachet-case, it will be necessary to put a 
layer of cotton, on which some favorite powder 
has been thickly spread, next to the top. 
Heliotrope, violet, stephanotis and other 
faint odors are all desirable in sachet- 
powders. If preferred, darned lace or any 
variety preferred may be used instead of the 
Languedoc. 



1 <-^"'i r'„"\ i^",.i-^^;.r^,i 






1^^ 



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74 



NeeDLe and gi^tiSM. 




^.g^^^^p^c^^^^s^xm 



"jl gMIED OB ]{ BOX. 



Perhaps it would be better to call it a 
flower of a box, as it is partially concealed by 
blossoms, but we will explain how it is made 
and then whoever duplicates it can decide 
upon a name for it. An ordinary white paste- 
board box forms the foundation, the size being 
best described by saying that it held a pound 
of confectionery. A scrap of blue satin 
covers the under side and another overlies the 
bottom, inside ; its edges being tacked beneath 
a piece of thin cardboard, which exactly fits 
into the box. Satin ribbon of the same shade 
and the narrow ribbosine used in fancy work 
are employed for covering the sides, the ribbon 
on the inside being laid in smoothly and 
tacked at the angles with a needle threaded 
with ribbosine, the ends of the latter being 
daintily bowed. Around the outside a ribbon 
is drawn smoothly, its ends being joined at 
one corner. That portion of the cover which 
slips over the box is now removed and the 
remaining flat portion is covered on both sides 
with satin, two tiny bits of the ribbosine 
being sewed beneath the lining at one edge. 
The corresponding edges of the ribbon inside 
and outside the sides of the box are now 
neatly se.wed together with an over-and-over 
stitch, except where the remaining ends of 



these short pieces of ribbosine are to be 
inserted — this being, however, left almost till 
the last. The cover is now overlaid with 
forget-me-not blossoms and their fine foliage, 
the leaves and flowers being detached from 
their stems wherever needful to permit of sew- 
ing them almost flatly. It is not difficult to 
do this but it takes care and patience to 
achieve the desired result. Having arranged 
the floral portion the loose ends of ribbo- 
sine are slipped into their places between the 
back of the box and its lining and securely 
fastened to form hinges. To the cover at the 
center of its front edge is fastened a piece of 
narrow ribbon, and to the edge of the box 
another. These two are tied together to close 
the cover, and upon each front corner of the 
box is fastened a pretty bow. What to do 
with it ? Well, the one we have described 
constitutes a most attractive ornament for a 
dressing case where it serves to hold some 
trifle of use or ornament, and even if it an- 
swered no practical purpose it is its own suffi- 
cient excuse for being. The one who devised 
it laughingly claims as her greatest talent the 
ability of being able to make pretty things 
out of scraps. That it is a pleasant one, no- 
body will deny. 



^^^s^^Ij^SS^^ 



NeeDLs AND BH^s^- 



75 




Xs is /o /o Xq Xo X O (9 ii) X: 



CHAPTER IX. 



Ai'UsHg Designs for PatcFtwerk Qailts and Safa-Pillow. 




HE making of patch- 
work quilts, without 
losing its commend- 
able attributes of 
economy and utility, 
has gained in artis- 
tic possibilities, and effective 
designs are much appreciated. 
Those illustrated in this chapter 
are sure to be admired, as they 




Herring-bone Patchwork Quilt, and Diagram for 
Shaping Sections. 

Figure No. i, and Diagram A. — The 
patchwork quilt illustrated at this figure is 
made of black and orange calico and lined 
with light-blue. These colors are well calcu- 
lated to secure the gorgeous appearance 
admired in quilts of this kind, but any others 
preferred may be substituted for them. The 
shape of the sections is pictured at diagram 




FlC.UKK No. I. 

are very pretty and not too elaborate. 



Diagram A. 
Figure No. i and Diagram A. — Herring- 
bone Patchwork Quilt, and Diagram for 
Shaping SEctioNS. 



A, which also shows the correct size, no 



76 



NeeDLe and b^^S^. 



allowance being made for seams. The strips 
are joined as follows : Two pieces are placed 
at right angles with eacli other, the end of 
one being joined to one long side of the other 
near its end. After a number of parts have 
been connected in this way, they are joined 
together so that the angles fit in smoothly. 
The utmost care must be taken to have all 
the parts uniform. Figured goods in two 
colors may be used instead of plain, with 
good effect. Sometimes the pieces are basted 
over stiff paper and then top-sewed together 



ments of the sections pictured are shown at 
diagram F. For each oblong, ten sections 
like diagram A, two sections like diagram B, 
nine sections like diagram C, four sections 
like diagram D, and four sections like dia- 
gram E, will be required. The inner lines 
show where seams are to be made. The 
parts are to be arranged as shown at 
diagram F, and when properly placed will 
look as in diagram G. When the sec- 
tions are all joined, the rays are put in 
with lines of floss, which may be of 




Figure No. 2. — Sun-Burst Patchwork. 



to insure uniformity, the paper being removed 
when the parts are joined. 

Sun-Burst Patchwork, and Diagrams for Shap- 
ing and Arranging the Sections. 

Figure No. 2, and Diagrams A, B, C, D, 
K, F and G. — At Figure No. 2 the quilt is 
pictured made of black velvet and orange silk 
— a specially suitable combination. The cor- 
rect sizes and shapes of the sections are 
given at diagrams A, B, C, D and E, and half 
the size of the oblong and the proper arrange- 



contrasting color as shown at diagram G. 
When enough oblongs for the quilt are com- 
pleted they are joined together. Sometimes 
several colors will be introduced in an oblong, 
and the arrangement of colors and materials 
will be different in several sets of oblongs. 

Sofa-Pillow. 
Figure No. 3. — This handsome sofa-pillow 
is made of velvet and plush, applied in uni- 
formly shaped sections to a square of satin 
with a variety of pretty stitches in numerous 



nggDlg and gi^asH. 



77 



shades of silk tioss. The edges of the pillow the square forming one side of the pillow, and 






are bordered with heavy cord. The effect of also the diagram for obtaining the exact size 



78 



NeeDLG AND Bi^asH. 



and shape of the sections are illustrated at illustrates the Japanese effect in the peculiar 
Figures Nos. 4 and 5. management of its uniformly shaped pieces, 




Diagram F. 




Diagram G. 
Diagrams A, 15, C, D, E, F and C. — Shapes ano Arrangemknt of Sections for 

SuN-BiiRST Patch wuRK. 

Square of Patchwork for Top of Sofa-Pillow. and the mosaic or crazy effect in the brill- 
FiGURE No. 5. — This square of patchwork iancy of its coloring and the variety of its 



nggBlg iiND BHas^* 



79 



stitches. The sections are all shaped exactly or silk, so that the points fit perfectly in the 
like the diagram shown at Figure No, 4, which angles, and the contrasting background is 




Figure No. 4. — Diac.ram for Shaping Sections of 
Patchwork for Sofa-Pillow. 



is of the correct size. They are then visible in triangles between the sections, 
arranged upon a square section of bright satin Every variety of known fancy stitch is used in 



8o 



NeeDLG AND BH^SH. 



applying and embellishing the sections, and ting velvet or plush, it is best to cover the 
also in decorating the triangular spaces. back with a thin layer of niucilaoe, shellac 
Velvet and plush for the sections, and satin white of egg, or some other gummy sub- 




FiGUKE ^.o. 5. — Square of Patchwurk i-ur Top of 
Sofa-Pillow. 



for the background, make a handsome combi- stance, and allow it to dry well. This pre- 
nation. Velvet, plush or silk in contrasting vents the material from fraying and keeps the 
shades also results beautifully. Before cut- sections in proper shape. 



^ [X: 



St * 5CX ^^ 
A \. X X XX X X . 



40, Sfi 



NeeDLG AND 5I^tl$H. 



8i 




CHAPTER X. 



TENNIS-RACKET" (l0¥ER. 




^IJ HE construction and decoration 
iv^w' of tennis-racket covers sup- 
plies pretty and interesting 
occupation to ladies who play, or 
whose friends enjoy the game. That 
these covers may be made things of 
beauty as well as use is undebatable, but the 



shaped ; that found, neatness of execution in 
putting the parts together and in the decora- 
tion is all that is needed to achieve perfect 
success. 

Linen, felt, cloth, flannel, pongee, plush, 
crash, etc., are used for the covers, and the 
initials of the owner are painted or solidly 




Figure No. i. — Tennis-Racket Cover. 



first and all important requirement is a suit- worked, or outlined in Kensington stitch on 
able pattern by which they may be perfectly the front, while a large floral or other decora- 



82 



NeeDLG AND 5I^tL$Ho 



tion elaborates the back. This design may 
be painted, embroidered or en applique. In- 
stead of flowers the insignia of the club or 
some original design may be used, if pre- 
ferred ; and the initials or monogram may be 
in metal. Dark colors are favored, but any 
preferred color may be used; and original 
effects may be achieved in color and decora- 
tion. The cover pictured shows only one of 
the many beautiful results that may be 
achieved, and for those wishing to produce the 



across the edge of the lap, and the initial let- 
ters are worked in solid embroidery. The out- 
lines for the letters are shown at Figure No. 
2. The handsome spray decorating the back 
is also done in solid embroidery in colors im- 
itating Nature and is very realistic-looking. 
The correct size of the spray is given at figure 
No. 3 on the following page. 

Initial Letters for Racket-Cover. 

Figure No. 2. — These letters are the proper 






P^iGUKK No. 2. — Initial Letters fur RACKEr-CovER. 



same effect the correct sizes of the initial 
letters used and the floral decoration are re- 
presented. 

Tennis-Racket Cover. 
Figure No. i. — Cloth in one of the new 
green shades was used in making this racket- 
cover, wliich is shaped by pattern No. 15 10, 
price 5d. or 10 cents. It is perfect in shape 
and is closed at the center of its lap with rib- 
bon ties. A row of fancy stitching is made 



size for the racket-cover, and may be outlined 
or worked solidly, as preferred. They may 
also be used to decorate other articles. 



Spray for Decorating Racket-Cover. 

Figure No, 3. — This beautiful spray of 
daisies may be done with outline stitch or in 
solid embroidery, as preferred ; but to be 
effective the natural colors should be chosen. 



NeeDL© AND BR^S^- 




84 



NeeDLe and 51^(15^. 



Embroidery Designs. Bargarran cotton or with crewels, linen or 

Figures Nos. 4 and 5. — The balls and silk. The exact outlines are readily repro- 

rackets illustrated .n these engravings are sim- duced by any one who has a correct eye, and 





Figure No. 4. 



?'1(;l'k1'; X 



(). 5. 



pie but eflfective garnitures tor a racket-cover. they may be traced by those who do not care 
They may be done in outline stitch with to rely upon keeping them in mind. 



NGSDLG ilND gl^tlSM. 



S5 



P^ffl ^IsM^lMMM 






CHAPTER XI. 



j^ FariGY B00k-(Le¥er, and Gases f'Qr Books and Engravings. 




XQUISITE bindings soon become 
ruins if they are not protected 
from the rays of the sun and 

"^W'^ from the dust. Not all the care 
in the world will preserve a book 
exposed to these evils, unless it is 
covered ; and as the owner is 
loath to hide the beauty under a 
muslin or paper cover, so artistic 

taste comes to her help and devises 




ual taste may govern the materials emploved 
or the designs wrought upon them, so that a 
fine field offers for the woman with ideas. 

Bible, with Cover. 

Figure No. i. — This illustration shows the 
bible in its cover, carefully closed and pre- 
served. The outside is of royal purple vel- 
vet, the monogram in old-gold and scarlet, 
and the ribbons of Ottoman, which is soft and 




Figure Nu. i. — Biisle, wjtu Cover. 

just what is needed. The family bible, ties easily. Silk, satin or cloth may be used 

the photograph album or, indeed, any book for such a cover, and myrtle, bronze, cardinal 

of value, may be enclosed in a cover like and dark blue would be suitable tints for 

the one represented, and with a little care other books. Purple, however, seems the 

a fine effect may be produced. Individ- most proper to use for any book of a religious 



86 



NeeDLG ilND B^^S"- 



character, as it is so essentially an ecclesiasti- 
cal color. 

Book-Cover Opened. 

Figure No. 2. — As will be seen by this 
engraving, the cover is very easily made. It 
is cut the size desired in one piece, lined with 
quilted satin of the same shade, and has rib- 
bon ends which are only employed when the 
book is closed and the cover fastened. The 
quilting is done in the familiar "diamond " 
design and a smgle sheet of wadding is added 



Monogram, in Full Size. 

Figure No. 3. — The sacred monogram 
I. H. S., signifying y^x?^.? Hominum Salvator — 
i. e., Jesus, Saviour of Mankind — is here rep- 
resented as suitable for a bible cover. It is 
worked in the satin stitch, with silk floss of 
bright gold and cardinal shades, which con- 
trast well with the royal purple background. 
On other books, or even on a bible, mono- 
grams of the owner or giver are in good taste. 
If the workwoman understands how to handle 




Figure No. 2.— Book-Cover, Opened. 



as lining, which tends to keep the book from 
being scratched. Any more elaborate quilt- 
ing pattern is admissible ; but, as this style 
may be bought already quilted at the shops, it 
is oftenest seen. The lining and outside por- 
tion are bound together with satin ribbon, 
which is of the old-gold shade noticeable in 
the monogram. Care should be taken that a 
sufificiently wide seam is allowed, or the edges 
will soon obtrude and present a very ugly 
appearance ; there being no decorative result 
coming from poor work. 



brush and pigment, she may paint instead of 
embroidering the monogram desired, though it 
is well to yemember that one may take out a 
mistake that is embroidered, while one that is 
painted is irreparable. 

Embroidered Inscription. 

Figure No. 4. — The inscription illustrated 
will doubtless be preferred by some to the 
monogram, even though it represents a 
greater amount of labor. For a purple back- 
ground, it is done in the deep shades of crim- 



NSeDLS AND SH^S^' 



87 



son and the light ones of yellow, artistically and will have no trouble in following them, 
combined. Silk floss or even arrasene may The outlines are embroidered in satin stitch, 
be used for this purpose, and a rich effect will the close dark spaces in the well-known darn- 




FiGURE No. 3.— Monogram, in Full Size. 



be produced. As the letters are shown in ing stitch, and the other spaces by crossed 
their full size, any one who embroiders even threads of floss or silk held at the crossings 
just a little, can very easily see the details by knots or beads. 



88 



NeeDLG ilND BR'^S"- 




FuiURE No. 4. — EMBROIDliREU. 



NeeDLG -rkQ 5h^$h. 



89 



Table Book-Case. 
P'iGURE No. 5. — This useful bookholder 
may be easily made at home. The frame is 
of wood, and may be purchased ready for 
decoration, if desired. It is covered on one 
side with silk and on the other with velvet, the 
bottom or floor portion being usually covered 



Book Satchel and Diagram for Same. 
Figures Nos. 6 and 7, — These two en- 
gravings present a neat satchel for a school- 
girl, and a diagram showing its shape when 
open. Canvas, an interlining of pasteboard, 
a lining of stout muslin, and a pair of handles 
are necessary in constructing it, with ribbon 




Figure No. 5 — TAbUi Book-Case. 




Figures Nos. 6 and 7. — Book Satchel, and Dia(;raiM for Same. 



alike on both sides. The balls may be of as a finish. The word " Books " may be em- 
gilt, silver or wood, and are sold ready for broidered on one side, and the name, initials 
use. The velvet on the upright portions is or monogram of the owner on the opposite 
decorated with a beautiful embroidery design, side. The lining, interlining and outside are 
for which applique or painting may be substi- bound together with ribbon, and a handle is 
tuted, if preferred. fastened at each end at the perforations 



9° 



NeeDLS ANl:) BHtis^. 



under ribbon bows. Ties of ribbon are also shape the sections are to be cut may be ob- 

fastened to each side to hold the books in tained by referring to Figure No. 9, which 

place ; but an end-piece may be used in place shows the case open, with its overlapping side 

of the ties, if preferred. Any other material edges tied in place by ribbons. The sewing 

may be used for the outside, from gingham to should be neatly done and the edges accu- 

kid ; the selection depending on circum- rately cut. At Figure No. 8 a view of the 

stances. case as it appears when closed may be seen, 




Figure No. 8. — Case for Engravings, Closed. 



Case for Engravings. 
Figures Nos. 8 and 9. — These two en- 
gravings present views of an article that is as 
useful as it is decorative, and is a neces- 
sity wherever cultivated tastes indulge in the 
collection of engravings or piiotogravures. 
Plush, kid, velvet, satin, leather or any fabric 
adapted to such uses may be chosen for the 
outside, and the lining may be quilted silk or 
satin, chamois or sateen, A good idea of the 



the word " Engravings " being worked on one 
side. Upon a case of ecj-u linen this word 
might be etched with ]5en and ink, upon 
leather, satin or plush, it might be painted 
and the ornamental effect might be en- 
hanced by entwining it with roses or 
foliage. Personal taste is sole arbiter in 
this matter and often suggests ornamen- 
tation in harmony with the collector's special 
preferences in the way of pictures. She who 



NeeDLG -RNB gi^Q^H. 



91 



admires natural scenery will find an apt quo- presentments of great musicians often in- 
tation to inscribe upon the case which pro- scribes upon the case a few bars from some 



,^, ^^^^L...u2^fe^...:^>^!Js^ 




Figure No. 9. — Case for Engravings., Upeneu. 

tects her favorite views, while the musician famous composer's work, or perhaps transfers 
who delights to gather about her counterfeit thereto her impression of some queen of song. 




92 NSeDLG AND BP^aSH. 



!<>^v.v^xx XX (; g .) XX xx^ xx<:^ | 



Sliii]gs tl^at are Tl^rowii Jlway. 

Among them are a variety of baskets vary- 
ing in size and shape from the clumpy, under- 
sized strawberry-basket to the more generous 
one capable of holding two or three dozens of 
eo-fs. They are all rather frail in construc- 
tion (that is, those which the marketman 
leaves his goods in), but they are quite strong 
enough to answer a variety of purposes. A 
strawberry-basket held under running water 
and scrubbed lightly with a brush may be 
freed from fruit stains, if it have any, but very 
often a basket free from stain is obtained 
when the early fruit is purchased. Having 
received whatever freshening it requires, 
paint the outside with blue, white or pink 
enamel or with any of the metallic paints, 
applying the latter with their own special 
medium or with French glue or thin white 
mucilage. Line it with Silesia, sateen, India 
silk or any similar material and its manifold 
uses will at once suggest themselves. If it is 
at all uneven or ragged about the top sew on 
a puffing of the lining material. Should a 
handle be essential to its usefulness fasten a 
splint upright to each side and through the 
tops of these uprights run a ribbon matching 
the lining, tying its ends in a bow. 

A little forethought will enable any one who 
takes pleasure in adding dainty and useful 
articles to their surroundings to use advan- 
tageously many trifies which to the unthinking 
have no value. Enamel may be bought in 
pound cans and applied by anybody who can 
handle a brush. 



1)i)a 



^^iipi^S^ 



NeeDLG AND 5I^tl$H. 



93 






;•«•£>: 







CHAPTER XII. 



DEGGRA^TED EASEL 




IGURE No. I.— Such 
easels may be purchased 
at any furniture ware- 
house. The one here 
pictured is of gilt and 
ebony. The lambrequin 
can be easily made, and 
loving fingers are always ready for work that 
beautifies the home. This lambrequin is of 
olive cloth and is very elaborately garnitured 
with artistically arranged sprays of luscious- 
looking grapes and full, short tassels. The 
lower edge is cut in alternating deep and 
short points, from each of which depends a 
tassel. In each short point is applied an 
arrow-head of garnet velvet, and the rest of 
the rich garniture consists of the grape-sprays 
mentioned. The method of making the 
sprays is illustrated and described at Figures 
Nos. 2 and 3. Plush, velvet or any lambre- 
quin fabric may be selected, and may be of 
any preferred color ; and the tassels may be 
as handsome as desired. 

Spray of Grapes, and Method of Making 
the Grapes. 

Figures Nos. 2 and 3. — The bunch of 

luscious fruit shown at Figure No. 3, with its 



knotty branch and handsome leaf, is effect- 
ively used in decorating the lambrequin on 
the easel pictured at Figure No. i. The leaf 
and branch are embroidered with arrasene in 
South-Kensington stitch, but the fruit itself 
is made as shown by Figme No. 2. Take a 
piece of silk, satin or Surah, cut out the 
shape of an English shilling or an American 
twenty-five-cent piece, and over-stitch the 
circular portion along the edges as shown by 
Figure No. 2. Draw the thread together 
tightly, stuffing the bag thus formed loosely 
with cotton. This forms a grape. In apply- 
ing the grapes, they are pressed slightly fiat 
and slip-stitched on. They should be bunched 
as nearly as possible like the natural bunches, 
and may represent any variety of grape. 
The leaf and stem should, of course, be of 
natural tints, and it is not impossible to have 
the similitude extend to the fruit if care be ex- 
ercised in the choice of colors. Such sprays 
may be grouped or arranged in vine or other 
designs, with handsome effect, on all kinds of 
lambrequins, table scarfs and covers, etc. 
Hand painting or embroidery may, if pre- 
ferred, take the place of the decoration de- 
scribed. 



94 



KeeDLG AND 5I^tl$H. 



Easels of this, or any other shape pre- driven in to develop some artistic arrange- 
ferred made of unfinished wood, may be ment and ihe effect is especially attractive, 
purchased and covered with plush' or velours, The brass-nail work is easily done by femi- 




Fu;uRE No. I. — Easel Decorated. 



the covering being held in place with short, nine hands and is very fascinating. The 
fancy brass-headed nails. Similar nails are tacks or nails may be purchased by the 



NSeDLS AND gl^tlSH. 



95 



dozen, ounce or gross for a moderate sum and judge how much force is necessary to send 
the shape of the article to be ornamented each nail into the wood with one blow. 




Fk;ijrk .\( 



FlGUKK 2SO. 



Figures Nos. 2 and 3.— Spray of Grapes, and Method of Making the Grapes. 

usually suggests appropriate designs. A Repeated hammering is apt to decapitate 
little practice will enable a novice to them. 



— LrLruiixi' 



96 



nggbls -kkb bH^S^- 



C5) (o)m m ^ 

X ii >i >< ^ ' «®©S9©®^@©1©^ 

,X v^ vr v/ -X v./' X- ,v>( .v>i.-)v>(^^S^ 

■".j •^ ^\ yx X ^ V X '^'* ^'^ ^^ ^ 

Ix X ><X X;__X 



X X 



71 Goiiple of Carriage ^obes. 



One is of dust-colored linen, and its bordersf 
decoration is a scroll design worked in button- 
hole stitch with Bargarren cotton over a fine 
purlette cord. The button-holing is in red 
and the cord is a shade lighter than the linen. 
The one whose pretty phaeton claims the robe 
has her interlinked initials worked in the cen- 
ter in the same manner. The finish is a 
fringe of Bargarren cotton in the three shades. 
Such a fringe may be knotted in or purchased 
ready for sewing on ; its purchase being com- 
mended to those whose leisure time is limited. 

The other robe is quite as simple, but so 
dainty that it is at once recognized as belong- 
ing to the carriage of His Majesty — the Baby. 
It is an oblong section of delicate mode 
colored felt, and its edges are cut in large 
pinked scollops and underlaid with a border 
of similar scollops cut from sky-blue felt. 
Inside the inner scollops of each side cross- 
wise slashes about an inch and a half wide 
are made at intervals of an inch apart. 
Through these slashes are run blue ribbons 
matching the outer scollops, their ends being 
frayed out to form a fringed finish and falling 
even with the ends. At the top and bottom 



of the robe slashes are made in the opposite 
direction and through these are run ribbons, 
the ends of which are fastened to the robe 
underneath. The effect is especially pretty 
and the cost is a mere trifle, while the short 
time consumed in making such a robe is cer- 
tain to win favor for it with busy women. 

If the saving of time be a matter of lesser 
importance, a felt robe may be elaborated in 
the following manner with very pleasing 
results. After the edge has been scolloped, a 
pretty design is traced or stamped inside the 
margin and then cut out with sharp, short- 
bladed scissors. Contrasting material is then 
applied to the under side so as to show 
through the open spaces, and the edges of the 
design are button-holed with silk or flax 
thread. 

A very pretty robe elaborated in this style 
is of fawn-colored billiard-cloth, with the same 
material in a darker shade underlying the 
design, which is in clover-leaf pattern. The 
edges are couched with brown and gold 
filoselle. The exact process is accurately de- 
scribed and clearly illustrated in Chapter 
XLIII. of our book entitled " Needle-Craft." 



Q0) 



^^m^^rwcm*^ 



NSeDLG AND 8Htl$H. 



97 



ir:ii|iiiii||iii|iiiiiii||i|ii!i||l|i||i illiiiilil 



llllllllllllllllllllllill 




kn.< il!iir'V|lll,||||im|IL<;:,,ll,|l|||ll,l,|ll= 



CHAPTER XIII. 




WALL DEC0RAT10NS, GALEDDARS AND SCREEDS. 



'HE woman of fine taste does 
not permit the walls of her 
house to seem bare and out 
of harmony simnly because 
Jp> she cannot afford expensive 
pictures to hang upon them, 
because .^he knows that in- 
genuity and good taste some- 

times produce more effective results than a 
large outlay of money. Pretty banners and 
panels which may be hung where they will 
illuminate a sombre tone or refine a too bril- 
liant effect in coloring; screens and number- 
less other fancy articles may be fashioned by 
any lady who embroiders or paints, sews 
neatly and once in a while drives a few tacks, 
and several very attractive specimens are 
illustrated in this chapter. 

The plain calendar of some time ago has 
grown into a beautiful bit of decorative art 
and may be made to accord with the most 
elegant surroundings. All sorts of odd con- 
ceits are seen in it, and the more unique 
the more are they valued. Individual fancy 
may be fully indulged in the selection of 
colors and materials for them. Fancy ribbons 
very often cover the foundations, and if 



these ribbons show a decided pattern it may 
be followed with tinsel thread, which achieves 
a gorgeous effect. Cord or narrow ribbons 
may be bunched in profusion upon them, but 
the disposition should be artistic. As a gift 
to a friend of either sex the calendar is much 
favored. 

Calendar Panel. 

FiGt'KE No. I. — This beautiful panel is cut 
out of thick cardboard and snioothh" covered 
with corded silk. Sprays of blooms and their 
foliage are painted on it in oils or water 
colors, and just above the sprays a small cal- 
endar is invisibly fastened. Near the upper 
corners bunches of loops and ends of ribbon 
are tacked, and from them extend tw-o ribbons 
that are used to suspend the panel. The 
colors of the ribbon and silk may be chosen 
to please the fancy, and the two may be alike 
or different, as preferred. The sprays may be 
embroidered, painted or applied, with good 
effect. Sometimes plush, velvet or satin will 
be used to cover the panel. 

Banner-Screen. 

FiciUKE No. 2. — This beautiful screen is 
made of a handsome piece of Ottoman silk 



98 



NeeDLs AND gi^a$H. 



on which are applied with gilt thread the 
golden buttercup in satin and its pretty green 
leaves in velvet. The veining is done with 
green silk. A row of gold cord borders the 
edges of the banner and is arranged in a trio 
of short loops at the upper corners and in 
long loops and ends at the lower corners, the 
ends being tipped with gold-colored pompons. 



with silk on the other, and edged all round 
with silk cord of the same or a contrastino- 
shade. Through one corner is drawn a loop 
of cord that serves to suspend the square, and 
the opposite corner is rolled over so as to 
deepl)' reverse the lower part of the square, 
making a compartment for the reception of 
pencils, pens, etc. At either side of the roll 




Figure No. i. — Calendar Tanel. 



Such screens may be developed in any colors, 
and the decoration may be fiowers and leaves 
of any variety cut from velvet, silk or satin. 
If preferred, the design may be done in Ken- 
sington embroidery. 

Ornamental Calendar. 

Figure No. 3. — A unique style of calendar 

is here illustrated. A square of cardboard 

forms the foundation, which is covered 

smoothly with plush or velvet on one side and 



is fastened a silk cord which is carried for- 
ward diagonally and tied in a bunch of loops 
and two ends some distance below, the ends 
being tipped with tassels. A bunch of loops 
and two ends of cord are also fastened where 
each cord starts from, the ends also being- 
tipped with tassels. Above the roll a grace- 
ful rose-spray is hand-painted, embroidered or 
appliqueed. The calendar is fastened under- 
neath to the bottom of the roll from which it 
depends. 



NeeDLS AND snasH. 



99 



Pocket-Pane:. appliquees. Very artistically made bows of 
FicURE No 4 -A Japanese screen forms ribbon are fastened to the ends of the cres- 
the back of this unique wall-pocket, and to cent, and thick silk cord is used to suspend 
its lower part are fastened two rows of long. the pocket, being passed through rings fast- 
fluffy tassels, the tassels in the upper row fall- ened at the upper corners of the screen and 




FuuRE No. 2.— Banner-Screen. 

i„„ between those in the lower row. The tied very effectively. Ribbons n,ay be used 

front of the pocket is formed of a crescent- to suspend the pocl<et and. instead of the 

shaped section of cardboard covered with floral applique chosen in the present tns.auce, 

plush and decorated with a graceful design embroidery or hand-painting may decorate 

selected from Kursheedt's Standard floral the crescent. 



NeeBLG AND BP^QSM. 



Decorated Panel. Banner-Screen. 

Figure No. :^. — This panel is of dark-green Figure No. 6. — In this engraving is illus- 
plush and has embroidered upon it a full- trated a very handsomely decorated banner- 
blown pink rose with long branches and buds screen of wine-colored satin. It is decorated 




FiGURK Mo. 3— Okna.mkntai, Calendar. 



Figure Xo. 4. — Pucket-I'anel, 



in their natural shades. The frame consists along the lower edge with a fringe of fancy 

of a narrow puff of pale-pink satin inside and ornaments of chenille, silk and metal ; and in 

a broad brass moulding. The latter may be the upper right-hand corner is fastened a full 

purchased, but the puff must be added to the rosette-bow of ribbon. A wise-looking owl, 

plush portion. perched upon a bough of dogwood, is em- 



NeeDLG AND BH^s^- 



broidered in his real hues in South-Kensing- easily accomplished, may be employed in 

ton slitch, ihe bough, with its pretty leaves making pretty screens and panels. At any 

and blossoms, being also embroidered in nat- shop dealing in fancy work materials, chams 

ural tints in satin stitch. Velvet, plush, silk, and rods and all the fixtures for mounting 




FiGURK Xo. 5.— DixuKAri'.i) Panel. 



FiGLRE No. 6. — F.AN.NER -Screen. 



or anv fabric preferred may be used for the may be obtained at slight cost, and ribbons, 

banner, and, of course, anv fashionable color pieces of velvet, plush, satin, etc., that are 

may be selected. Fringe, tassels or any pre- saved from larger articles may be employed ni 

ferred ornaments may be fastened to the their development. Jn another chapter in- 

edge. South Kensington painting, which is structions are given for painting the owl. 



NeeDLG AND BRtiSH. 



Transparent Screen for Fire-Place. Banner-Screen. 

Figure No. 7.— The frame ot this effective Figure No. 8.— This elegant banner-screen 

screen may be of any preferred wood and as is made of plain silk, and is shaped at the 

fanciful as desired. Two panes of clear bottom so as to be shortest at the center and 

o-lass are fitted into it, and between the panes deepest at the sides. Following the outline 

a o-roup of handsome fern leaves is most of the lower edge is a rich decoration formed 

artistically arranged, brilliant-hued butterflies of upright strips of velvet ribbon that are of 




Figure No. 7.— Transparent Screen for Fike-Place. 



adding beauty to the picture. A large bow 
of wide ribbon is arranged in one upper 
corner of the screen. The ferns may be of 
all varieties or of one [particular kind, and 
grasses, cat-tails, etc., may be grouped with 
them if desired. Skeleton leaves may be 
used, but they are not so effective in the 
transparency as the bright green leaves. 



equal length and pointed at their lower ends. 
The strips are applied and decorated with 
fancy stitches in many-colored flosses and 
also m filoselle and tinsel, and each point is 
tipped with a pretty plush ornament. Pretty 
sprays of daisies are embroidered or hand- 
painted on one side, and the banner is fas- 
tened with invisible stitches to the bar of a 



nggBlg and b^^^Sh. 



[03 



gilt stand. Cords run through rings in the with fancy stitches to the bottom of the 

ends of the bar are tied in a bow at the top screen, with ver)' pretty effect, 
of the stand, the ends being tipped with 

fluffy tassels. The colors of the silk and the Decorated Banner. 
ribbon may be chosen to please the taste, but Figure No. 9. — This engraving illustrates a 
black velvet ribbon is very effective on all handsome banner of heavy silk. The gar- 
colors. Plush, velvet, crepe or any preferred land of pansies is selected from Kursheedt's 




Figure JSo. 8. — Banner-Screen. 



Figure No. 9.— Decorated Banner. 



material may be used for the screen, and on 
the first two fabrics fancy, vwir^ or satin 
ribbon may be used. Any preferred design 
may be embroidered, applique'ed or hand- 
painted, as preferred. Instead of the velvet 
ribbon used in this instance, a band of plush, 
velvet or some fancy ribbon may be applied 



Standard floral applique'es, and is applied as 
described at Figure No. 10. Two rows of 
velvet ribbon are arranged about the lower 
edge, which shapes a deep scollop at the 
center and a smaller scollop at each side. 
Over the ribbon is gilt braid, arranged in a 
scroll design ; and depending from the lower 



I04 



NeeDLG AND BI^tl$Ho 



edo-e is a row of tassel ornaments. Similar Among the unique things in decorative 

ornaments are fastened to the ends of the art is 

cords attaching the banner to the stand. " A subtle spider which doth sit, 

In the middle of his web, which spreadeth wide," 

Method of Applying Floral Appliqu6es. ^^^-i^ though he is not a living specimen of his 

Fk;ure No. io.— One of the most effective kind, he is so real-looking, and his fairy web 

methods of applying floral garnitures is here ^q y±q hj^ own filmy home, that the illusion 




Figure No. io. — Method of Applying 
Floral Appliqu^es. 




Figure No. ii. — Ornamented I'anei., 



shown. The garniture is basted flatly on in 
the position it is intended to occupy, and then 
several strands of arrasene or silk floss, 
whichever be preferred, are arranged above 
tlie margin and held down with over-and- 
over stitches of gold thread. Of course, the 
threads are arranged v^'hile making the over- 
and-over stitches and require no needle, as 
thev may be held in the left hand. 



is only dispelled after an examination of the 
delicate work. Then, too, the ever-curious 
fly is walking into "the prettiest little parlor 
that ever you did spy," never dreaming that 
his wily coaxer has in anticipation a most 
delicious feast to be enjoyed as soon as he is 
within grasp. One of the most realistic ar- 
rangements of tlie decoration is shown in the 
]ianel illustrated at Figure No. ii. 



NeeDLG AND gi\asH. 



i°5 



Ornamented Panel. fly. These may be of metal or may be made 
Figure No. ii. — An unique mode of orna- of embroidery, as preferred. Tiie brancli is 
meriting an oval or square cornered panel then fastened to the panel under a many- 
covered with plush, velvet or any decora- looped bow of pretty satin ribbon, 
tive material, is here illustrated. A prettily Wall Decoration 
shaped branch may be cut from the silver Figure No. 12. — A ^ood way to arrano-e 
maple, apple, sugar maple, cherry, walnut, peacock feathers, as well as to make an 



v.. ,' ■(( 




Figure No. 12. — Wall Decoration. 



peach or any available tree. ,From twig to 
twig are arranged lines of fine silk that all 
meet at one point, and between these lines 
are cross-lines of silk, which, if carefully ar- 
ranged and selected in the proper color, will 
result in a very realistic-looking spider web. 
in which are placed the veritable spider and 



artistic decoration, is here shown. A founda- 
tion of the desired size and in fan shape is 
cut in pasteboard, and this is smoothly cov- 
ered with sapphire-blue velvet. The feathers 
are then laid on in a careful manner. The 
stitches may be long, but ihey must be firm 
and nearly always they can be hidden bv the 



[o6 



NeeDLS AND B^^SM- 



next feather. The bow is of sapphire satin a handsome lamp-screen, which will prove as 

ribbon and is an especially pretty finish. useful as it certainly is ornamental. The 

Over a cabinet or a low bookcase, or on a frame is of brass, but may be of rattan or 

door, this is a desirable decoration. Velvet, some fancy wood, or silvered or gilded metal, 




Figure No. 13. — Decorated I.amp-Screen. 

plush or silk may be used for the background, as preferred. The rings suspending the 

as preferred. screen are usually of the same material as 

Decorated Lamp-Screen. the frame. I'he screen is of heavy silk and 

Figure No. 13. — This engraving illustrates is cut out in three large scollops at the lower 



NeeDLG AND 5H^$H. 



107 




FiGUKK No. 14. — Ribbon Calendar. 



io8 



NeeDLG ilNi:) B^^S^- 



edge, the middle scollop being deeper and divide the scollops into three pockets, which 

larger than the other two. The upper half of are quite ornamental in appearance. A row 

the screen is decorated with a pretty hand- of handsome fringe borders the lower edges 

painted design, but may be embroidered or of the scollops. To the ends of the cross-bar 

plain, as desired. The lower half is covered of the frame are knotted cords, which are 

with satin, which is gathered at its lower edge carried up to the lengthwise bar and similarly 




Figure No. 15.— Wall- Pocket. 



to the edges of the scollops, and also at its knotted, all the ends of the cord being tipped 

upper edge to form a pretty frill, the upper with handsome tassels. 

edge being loose from the screen, except 

where it is fastened at the ends and twice Ribbon Calendar. 

between the latter under pretty rihhon bows. Fk;urk No. 14.— One of the prettiest de- 

The satin is then sewed to the screen so as to vices for a calendar is here shown. A square 



NeeDLG iiND BH^S^° 



109 



of ivorine, celluloid, thick parchment-paper, three ribbons run through them. One ribbon, 
Bristol-board, etc., may be used, and on it with the abbreviated names of the days of 



rr/- 



.i£iy^h 




Figure No. 16.— Design for W ai.i.-Pockei'. 



are painted the year and the designs pictured, the week painted upon it, is drawn through 
Slits are cut in the positions illustrated and the two slits near the upper left-hand corner, 



NseDLG AND BH^S"- 



so that the ends come at the back. The upon it. The ends of these ribbons are 
middle ribbon has the days of the month pointed and tipped with fancy ornaments, 




Figure No. 17.— Bannkkktte. 



painted on it, while the remaining ribbon has which may be of metal, chenille, etc., and of 
the abbreviated names of the months painted any preferred shape. The calendar is hung 



NeeDLG AND BH^^S^- 



by ribbons, which pass forward from behind 
the upper corners and are tied in a bow. 
Any preferred design may be painted on the 
square, or a motto or some suitable quotation 
in fancy lettering may be substituted. The 
ribbons may be of different colors or all of 
one color, as preferred. 



over stitches. A row of gold cord edges the 
circular piece and is tied in many loops at the 
point of suspension, the ends of the cord 
being tipped with gold tassels. The circular 
piece has on it a design representing the god- 
dess of the morning floating in the air and 
dropping flowers from her rosy fingers instead 




Figure No. iS. — Fire-I'lace Screen. 



Wall-Pocket. 
Figure No. 15. — This novel style of wall- 
pocket has a crescent and a full circular- 
shaped piece of cardboard for its foundation. 
The circular piece is covered with crimson 
satin and the crescent with gold satin, and 
the parts are joined together with over-and- 



of sparkling dew, and this may be traced with 
pen and ink or done with the Kensington 
stitch. The design is shown in full size at 
Figure No. 16, Plush, velvet, silk, cre'tonne, 
felt, etc., may be selected for such useful 
ornaments, and any pleasing contrast may be 
developed. 



112 



NeeDLe and shqsh. 



Design for Wall-Pocket. 

Figure No. i6. — This design is in the full 
size for the wall-pocket illustrated at Figure 
No. 15. It may be done in South-Kensington 
outline-stitch or painted, or it may be a pen- 
and-ink sketch, as preferred. 
Bannerette. 

Figure No. 17. — This handsome ornament 
is made of white corded silk lined with apple- 
green satin. It is of pretty shape and is 
suspended upon its gilt standard by tiny gold 
rings and a bunch of narrow white ribbon at 
each corner. The words " Easter Greeting " 
are embroidered in one corner, and a calla 
lily and several golden butterflies are artisti- 
cally painted upon it. Bullion fringe outlines 
the lower edge. There is much scope for the 
exercise of individual taste in making these 
decorative screens, and as accessories of the 
library table they are most ornamental. 
Fire-Place Screen. 

Figure No. 18. — A very handsome screen 
to put in front of an unused fireplace is here 



illustrated. The stand rnay be purchased at 
any furniture warehouse, and may be of any 
preferred variety of wood or cane. The 
screen is shaped from cardboard and smoothly 
covered with velvet, plush, or any desired ma- 
terial. A border of fancy stitching is made 
about the rounding edge with fioss or embroi- 
dery silk in one or several colors. The lower 
part of the center is prettily embroidered in a 
simple design, and outside the design, in the 
curved outline of the upper edge of the screen 
are applied, wdth fancy stitches, three rows of 
simply embroidered plain ribbons of contrast- 
ing colors. The outer ribbon conceals the 
lower extremities of conventionalized leaves 
in two shades of silk, the darker leaves over- 
lapping the lighter ones, and all being applied 
by fancy stitches and further elaborated by 
other stitches of various kinds, the result pro- 
duced being mosaic and very handsome. 
Yellow daisies growing among the grass con- 
stitute an effective design for such decora- 
tions. 



Kix 5< X >( S:^<?8 

^n2:5i'x X X X K X X X X X .\'2i5? 



NeeDL© AND B^^SH. 



"3 




CHAPTER XIV 



F0R ADD flB0OT THE W0RK-TABLE. 




LIGGESTIONS for work-bags 
and for such accessories of the 
work-table as busy women and their 
industrious sisters who ply the 
needle or crochet-hook for pleasure 
require, are in such demand, that this chapter 
is included to meet the requirements of 
many whose requests all hinge on the matter 



answer for holding the pretty scraps she 
is collecting for a mosaic quilt — once she 
would have called it a crazy quilt ; another 
asks for an illustration of some method 
for using to advantage short lengths of 
contrasting ribbons ; still another utters the 
wish of many when she asks for designs for 
fancy-work receptacles that may be hung out 




Figure No. i. — Catch-All, ok Wurk-Bag. 



of combining the pretty with the practical. of reach of inquisitive little people ; a mother 
One wants ideas for a bag that wLU of several boys asks how to make a darnin"- 



114 



NeeDLG AND BHO-SH. 



bao- that will have space for the unmended or orange, or two shades of any color will 

hose, as well as for the implements needed in combine prettily in the bag. Sometimes but 

tlieir renovation. That none have been for- one color will be used, and the contrast will 

o-otten the following pages prove. be developed with two kinds of ribbon. 

Catch-All, or Work-Bag. Fancy-Work Bag. 

Figure No. i. — The foundation of this Figure No. 2. — This dainty bag has for 

pretty bag is an oblong basket, which may be its foundation a tripod of cane, each stick 





Figure No. 2. — Fancy-Work 1!ag. 



Figure No. 1.— Case for Embroidery Silks. 



gilded or tinted or left its natural color. The 
bag is formed of upright strips of ribbon of 
different colors, joined together and fastened 
about the top of the basket ; its top is turned 
under deeply and sewed to form a casing a 
little below the top. In the casing are run 
ribbons, which draw the bag in and form the 
lop into a frill. Orange and black, scarlet 
and black, olive and pale-blue, olive ancl gold 



being surmounted by a round, gilded knob. 
The bag portion is made of pale-blue Surah, 
and the gathered frill which forms the finish 
at the top is arranged before the bag is put in 
place, so that only one seam is necessary, and 
that is at the side and invisible. \\'here the 
bag is drawn in at the lower edge are tied 
]3ale-blue and yellow ribbons having their 
ends tipped with gilt balls, and at each corner 



NeeDLG AND SH^s^- 



"5 



are ribbon loops and ends decorated in the Case for Embroidery Silks, 

same way. If one did not care to use this as Figure No. 3.— This handy case is made of 

a receptable for fancy-work, it could stand in a strip of heavy grosgrain ribbon in a deep 

the drawing-room and hold my lady's fan, maroon shade. Each end is folded over about 





Figure Xo. 4. — RiniiON Chatelaine. 



Figure No. 5.— Chatelaine Companion. 



handkerchiefs and smelling-bottle; for even two inches and caught to place by herrin-v- 

ihen it would be of absolute use, because bone stitching done in light-yellow floss. A 

these are the very things that are always be- length of cream-white ribbon is then arranged 

ing mislaid. over the center of the maroon strip so as to 



ii6 



NeeDLG ilND BF^tlS^- 



form several compartments, lengthwise lines of 
machine- stitching holding it in place. Each 
compartment is used for holding a skein of 
twist or silk, and the convenience of the case 
is at once apparent. Cashmere, satin, silk or 
sateen may also be utilized in making such 
cases, and a monogram or floral spray will 
sometimes decorate the reversed ends. Fancy 
stitching may be used instead of the machine- 
stitching, if preferred. 

Ribbon Chatelaine. 

Figure No. 4. — Any variety of ribbon 
may be used for this accessory. The ribbon 
is wide and is made into a bow with five 
graceful looking loops. Two long ends de- 
pend from the bow, and to one of them is 
fastened the scissors, while to the other end 
is secured a small cushion for the needles and 
pins. The cushion is shaped like a small 
tomato and is formed of sections of scarlet or 
yellow cloth, suitably stuffed. Any preferred 
shape may be adopted for the cushion, but it 
should be small and carefully made. A latch- 
pin will fasten the chatelaine to the dress and 
if secured to the bow will always be in place 
for use. 

Chatelaine Companion. 

Figure No, 5. — The scissors, needle-book, 
emery ball and work-bag are all most agree- 
ably combined in this unique chatelaine. The 
bag is of crimson velvet, and elastic cord is 
used to draw it in near the top. To each 
side is fastened a ribbon, the other ends of 
which are fastened under the long-looped bow 
which covers the fastening of the chatelaine 
to the dress. A similar ribbon is run through 
the thumb and finger holes in the scissors and 
fastened also under the bow, from which de- 
pend two other ends of different lengths. To 
the shorter end is fastened the emery ball and 
to the longer end is fastened the needle-book, 



which is of crimson velvet to match the work- 
bag, with the customary notched leaves of 
flannel. In each corner of the book a simple 
design is worked with silk floss. The initials 
or monogram may be embroidered on the 
book, with pretty effect. The color of the 
ribbon and velvet will be regulated according 
to taste, and any preferred materials may be 
used instead of velvet for the book and bag. 
The emery ball is usually purchased ready for 
attachment. 

Darning-Bag. 

Figures Nos. 6 and 7. — This bag is easily 
made, and is a treasure when completed. Its 
foundation is three pieces of pasteboard, 
straight across their upper edges and oval at 
the bottom. Two of them, which are first 
smoothly covered with satin, cretonne, etc., 
form the bag, being joined together at their 
rounding edges by a full puffing of satin, 
which is sloped off so as to be considerably 
narrower at the corners than at the bottom. 
Upon the outside of one of the pieces of 
pasteboard are sewed three pinked leaves of 
flannel in different colors for a needle-book, 
and one side of the remaining piece of board 
is plainly covered and has a strip of silk 
arranged diagonally upon it and stitched 
crosswise several times, just enough fulness 
being allowed between every two rows of 
stitching to form pockets for skeins of floss, 
etc. This third section of pasteboard is now 
covered in bag style on the opposite side and 
sewed to the side of the real bag, having the 
needle-book attached with the thread-pockets 
on the inside. A little double ruffle is sewed 
inside the edges of the bag-opening, and rib- 
bon strings are fastened at the corners to hold 
it, and their ends are tied in a bow. A bow is 
also fastened at the top of the simulated bag. 
Tlie effect is very rich when plush is used for 
covering the sides and silk for the puffing. 



nggDlg and 5I^G1$H. 



117 



Cashmere in pretty colors may, however, be together at the top is clone with silk cords, 
used, with very pleasing results. and a fancifully made bow of crimson satin 

ribbon is placed just in front. Velvet may be 
Fancy-Work Bag. ^,5^^! i,^stead of plush, if preferred, and gilt 

Figure No. 8. — This dainty bag, which may crescents may take the place of the chenille 
also be used as a catch-all, is made of strips pendants. 





Figures Nos. 6 and 7. — Daknini;-Bag. 



of material sewed together. Two are a pale Button-Bag. 

rose-colored brocaded ribbon, another is of Figure No. 9. — A pretty bag in which to 

deep crimson plush, and the other plain satin keep miscellaneous buttons is shown in this 

ribbon. The lining is of rose-colored Surah, engraving. The bag is made of two sections 

and the chenille pendants that finish the lower of chamois that are slashed at close intervals 

edge are of the crimson shade. The drawins: for several inches at the bottom to form a 



NeeDLG AND 5I^tI$H. 



heavy fringe ; the sections are joined together the outside in the fantastic manner pictured. 

alono- the top of the fringe and also at the The silk and ribbon may be of any preferred 

side ed^-es, a row of buttons binding the fringe, color and variety. 

A piece of silk several inches deep is joined 

to the top of the bag, turned over on the out- Scrap-Bag. 

side and then sewed again to the bag, tar Figure No. id. — For some time coarse 





Figure No. 8. — Fancy-Wokk Bag. 



Figure No. 9.— Button-Bag. 



enough from the top to form a casing for the straw hats have been utilized as flower- 
ribbon draw-strings, which are pulled through baskets, but the latest inspiration of genius 
openings finished for them at the seams. has also transformed them into scrap-bags. 
When the strings are drawn up the silk forms Take any new or unsoiled coarse or fancy 
a handsome flounce. Buttons of as miscella- straw hat with a wide brim, and bend the 
neous varietv as the bag holds are sewed on latter close to the crown at each side under a 



NeeDLS AND S^tlSH. 



cluster of dried grasses, bleached grain or 
artificial flowers, and then attach a bag of 
satin or silk to the crown in the same way as 
you would sew in a lining, except that it is 
slightly gathered. Make a shirr at the top so 
as to leave a narrow ruflfle, and insert a ribbon 
draw-string, by which to hang it up. The 



quite full and sewed in over-and-over fashion 
to tiie bottom. A casing is arranged at the 
top, the plain silk used for it extending to the 
edge and forming a pretty contrast with the 
richer material. Broad satin strings are then 
drawn through the casing and tied in a jiretty 
bow at the top. There are few houses where 




Figure No. io.— Scrap-Bag. 



Figure No. ii. — Work-Bag. 



effect is even more pleasing than the engrav- 
ing represents it, and is both picturesque and 
ornamental. 

Work-Bag. 
Figure No. ii. — A circular piece of card- 
board is carefully cut and covered with the 
brocade as the foundation for this bag. A 
straight strip of the brocade is then gathered 



a strip of brocade cannot be found, and, if one 
has been saving, pieces of ribbon may also 
be in some hidden box; then all that is needed 
will be a little time and care. Quaint and 
antique looking brocades are liked, and 
old-fashioned, printed silks are often combined 
with more modern fabrics in the formation of 
such ban's. 



NeeDLS AND 5H^s^- 



Lace-Covered Bag. 

Figure No. 12. — This bag may be made of 
satin, silk, fine Silesia or any preferred mate- 
rial of a light or delicate hue. About it is 
arranged a cover formed of three rows of deep 
lace, sewed together so that each of the upper 
two rows overlaps the top of the one just be- 



The bottom of the bag is gathered closely, 
and to it is sewed a shirred ruffle of the deep 
lace, which droops below a full ruffle of the 
narrow lace and makes a very pretty effect. 
The ribbons should match the fabric forming 
the bag, in color, and the lace may be of any 
preferred variety. 




P'iGURE No. 12. — Lace-Covered Bag. 



low. The upper row is headed by a standing 
row of narrower lace, and then the lace cover 
is arranged over the bag and the two are 
sewed together at the top by three rows of 
stitching made far enough apart to form two 
casings. Into these casings are run the rib- 
bons that draw the bag in suitably at the top, 
the narrow lace standing in a frill above them. 



Ribbon Work-Bag. 

Figure No. 13. — This bag is made of strips 
of wide ribbon in two shades of green ; they 
are sewed together and cut in points at the 
top, which is deeply underfaced with the same 
kind of ribbon. Along the bottom of the 
facing is formed a casing, in which ribbons 
are run to draw the bag up. A strip 



NGeDLG AND gi^asHo 




Figure No. 13. — Ribbon Work-Bag. 



Figure No. 14. — Hanging Needle-Book. 




Figure No. 15.— Spray of Bi.ackherries and Leaves. 



NSeDLG fiNB SHias"' 



of ^vide, ^vate.ecl ribbon is joined to the which may be easily hung up without chance 
bottom of the bag, turned up on the out- of dropping any of the spools. Any preferred 
side and sewed at the joinings of the shades and varieties of ribbon may be used, 




FiGURK No. l6.— COMIilNATlON NEEDLE-BoOK AND PlNCUSHION. 



Strips to form compartments for the different and new ribbons need not be purchased, as 
spools of silk, thread, etc. When the work is those taken from discarded hats and dresses 
to be laid by it may be placed in the bag, are often suitable. 



NeeDLS AND Bi^tiS^- 



123 



Hanging Needle-Book. 
Figure No. 14. — Among the useful things 
of the sewing-room is the needle-book, and a 
very pretty article of this kind to hang on the 
wall, work-basket or work-table, is here por- 
trayed. Its foundation is a piece of card- 
board shaped as pictured and smoothly 
covered with plush, velvet, silk or satin, and 
embroidered or hand-painted in some pleasing 



bons and covering may be of any preferred 
color. The method followed in embroidering 
the spray is explained at Figure No. 15. 

Spray of Blackberries and Leaves. 

Figure No. 15. — This pretty spray is used 
in adorning the needle-book illustrated at 
Figure No. 14. The berries are made with 
the knot stitch, and the leaves and stems 




Figure No. 17. — Spray for Decorating Needle-Book. 



design. A spray of blackberries and leaves, 
embroidered in the lower left corner, is the 
design here represented. The leaves are of 
pressed flannel, pinked at the edges and firmly 
fastened to the top, the joining being hidden 
by a wide ribbon arranged in bows at the 
upper corners. The suspending ribbons are 
attached under these bows and are bowed to- 
gether at the point of suspension. The rib- 



with the South-Kensington stitch. Black or 
very dark purple or blue may be used for the 
large berries, red for the small berries to sug- 
gest the unripe fruit, and green in suitable 
shades for the leaves and stems. The design 
may be embroidered on any article desired, 
and a little study and ingenuity will show it 
may be repeated to form a vine, with very 
artistic results. 



124 



NeeDLG iiND BK^S^- 



Combination Needle-Book and Pincushion, and 
Spray for Decoration. 

Figures Nos. i6 and 17. — Three pieces of 
cardboard cut in bellows shape form the 
foundation for this pretty accessory to the 
work basket or table. They are smoothly 
covered with silk, and two of them are joined 
to a shaped strip of velvet or plush to form 
the cushion, which is compactly filled with 
sawdust, bran, hair, etc. To the back of the 
remaining section are fastened leaves of 
flannel or cloth that form the book; they are 



cut the same shape and notched evenly at the 
edges. The parts are held together at the top 
by ribbon gathered to them and tied in a large 
bow a little above the ends, while at the 
bottom they may be tacked together or left 
free. A floral spray is painted on the needle- 
book, and a bow of picot-edged ribbon is 
tacked at the bottom. The spray in the de- 
sired size is shown at Figure No. 17. If 
desired, it may be embroidered in Kensington 
or satin stitch. Any preferred colors and ma- 
terials may be used for an article of this kind. 



Sn^all Pieces of Bric-d-^rac. 



Some very fine bits of bric-a-brac are so 
small that they become dwarfed by contact 
with larger and more showy pieces, and some 
are so frail that the possessor, much as she 
delights in their beauty, is loath to leave them 
where curious or careless touches may destroy 
them. A very artistic and beautiful recepta- 
cle for them may be made by any lady who 
can paint in oils or water colors. It has for 
its basis a square or oblong piece of pine or 
holly board with bevelled or rounded edges, and 
this is overlaid with a coat of white against 
which a mass of brier-roses, wisteria, sweet- 
pea blooms are thrown into a strong light. 
The design is usually painted from one side 
or the top of the board, and upon the latter 
are secured stair-like arrangements formed of 
small pieces of the same kind of wood painted 
in the ground shade. These stairs or ste])s 
need not be more than five in number, and 
three of them may be joined in this manner 



I and fastened against the back with tacks 
or screws coming from behind. These may 
be placed to one side, near the lower left-hand 
corner with the horizontal top of the lower 
step a little above the lower edge of the back. 
The other two sections being joined in stair 
fashion, may be attached higher up, near the 
upper right hand corner, and with a mass of 
bloom between them and extending partially 
around them the effect is indescribably beau- 
tiful. It is that of a dainty wall-cabinet quite 
as attractive as many that cost large sums, 
and with a bit of rare carving upon one of the 
little shelves, a tiny cameo vase upon another 
and perhaps a bit of treasured Sevres upon 
the third it is worthy of the admiration of a 
connoisseur in objets d^art. Such a cabi- 
net may be fastened to the wall by wires 
hung upon hooks in the same manner as 
pictures are hung, but, of course, with no 
incline. 



^J(^ < x< X X X X X X >«; J ;),x;aq; 



'^^^'•A. < x< X' X' x 



X X X 



NeeiDLS AND gi^asH. 



^25 










<3«g> 



CHAPTER XV. 



GHAM81S ADD GELLUL81D ARTICLES. 




HAMOIS and celluloid are 
among the favored materials 
which are held in high esti- 
mation for their possibilities of 
beauty as well as use. In this 
chapter are illustrated some es- 
pecially beautiful specimens of practical 
and ornamental articles formed of them, 
either alone or in combination with some 



tage, though neither of them require its 
addition to make them attractive. Chamois 
may be purchased in its natural color and 
also in dyed tints, and celluloid may be pro- 
cured in varieties closely resembling ivory, 
tortoise-shell and various other rare products. 
Cover for a Pincushion. 
Figure No. i, — This cover is made of a 
square of chamois having the corners slightly 




Figure No. i. — Cover kor a Pincushion. 



other decorative fabric. Both are receptive rounded ofT. A little above the edge the 
to brush work and display it to good advan- cover is tinted with water color to give 



126 



NeeDLS AND BRtiSM. 



the effect of a narrow band, and some dis- 
tance above this another band is tinted and 
made fanciful by a Greek-key design in 
another color. From the edge to the inner 
band the cover is cut in uniform slashes that 
form a pretty fringe, and the center of the 
cover is elaborated with a painted floral de- 
sign. A rosette-bow of two shades of ribbon 
with a picot edge is fastened on each corner, 
with beautiful effect. The cushion may be of 
any preferred color, and of a round, square or 
oblong shape. With the whisk-broom holder 



a cord covers the joining at the front edges. 
A ribbon is plaited to each front edge, midway 
between the ends, and carried about the out- 
side and tied in a bow below a painted spray 
of roses. The chamois part may be as elab- 
orately painted as desired, and oftentimes it 
Avill be all over-tinted to produce some special 
color. 

Toilet Bottle. 

Figure No. 3. — This bottle may be of any 
preferred shape and is smoothly covered with 




Figure Nu. 2. — Handkerchief-Case. 



pictured at Figure No. 5 and a pair of toilet 
bottles such as that shown at Figure No. 3, 
the cushion will complete a beautiful set for a 
toilet-table. 

Handkerchief-Case. 

Figure- No. 2. — The outer part of this case 
is of chamois and is artistically embellished 
with paints in water colors. The bands are 
tinted with water colors and the ends are cut 
to form a fringe. The lining is Surah or In- 
dia silk and is gathered at the front edges and 
plain at the sides. Cotton is inserted in suffi- 
cient layers to make the case quite thick, and 



silk, Surah, satin, velvet or plush, two fringed 
ruffles of silk surrounding the neck. The 
apron is a point of chamois fringed at the 
lower edge and decorated to match the 
cushion and whisk-broom holder pictured at 
Figures Nos. i and 5, which will complete an 
elegant and novel toilel-set. 

Card-Bag. 

Figure No. 4. — This engraving illustrates 
a pretty bag for the reception of playing 
cards. It is made of chamois, and a fringe 
cut in chamois decorates the lower edge. 
Before the fringe is cut a band is painted in 



NSeDLG AND BR^SH. 



127 



water colors near the lower edge of the strip. out through button-hole slashes made near the 
A fancy design is also painted diagonally top are used to draw the ba^^ tooether. 








Figure No. 3. — Toilet Bottle. 



Figure No. 4. — Card-Bag. 




Figure No. 5. — Whisk-Broom Holder. 



across each lower corner, and tJiree cards are Whisk-Broom Holder. 

tacked or painted on. Ribbons run in and Figure No. 5.— This handsome holder is 



128 



NeeDLG AND BRtlSH. 



made of cardboard that is shaped to form a bons may be of any preferred color, width 

point at the center of the front and back and and variety. 

covered with chamois left long enough to be Tobacco-Pouch. 

cut in a frino-e of oraceful depth. Before the Figure No. 6. — The convenience of this 

frino-e is cut the chamois is tinted in a band a pouch will be at once recognized, and its 

little above the edge and along the upper and addition to the smoker's table cannot fail to 

lower edges of the foundation, the upper be appreciated. It is made of two oblong 




Figure No. 6. — Tobacco-Pouch. 




Figure No. 7. — Handkerchiek-Case. 



bands being made fancy by ornamental mark- sections of chamois that are pinked at one 

ings of another color. A pretty floral design edge and cut to form fringe at the opposite 

is painted on, and ribbons fastened to the top edge. Each section is lined with cardinal 

are used to suspend the holder and are tied satin, the lining being included with the 

together in a pretty bow. The whisk-broom seams that join the portions at the sides, and 

here represented has an oxidized silver sewed together at the lower edge to form the 

handle that is beautifully carved. The rib- bag. Slashes are cut near the top and draw- 



NeeDLe and 5F?a$H. 



129 



ing-cords inserted. A design illustrative of 
the smokers' companions is painted on- one 
side. Kid, leather or any similar material 
may be employed for such pouches, and the 
monogram of the owner may be embroidered 
with good effect. 

Handkerchief-Case. 

, Figure No. 7. — Celluloid forms the outer 

part of this case. About the edges is placed 



of the cover instead of the puff, and any ap- 
propriate flower may be imitated. 

Card-Receiver. 

Figure No. 8. — A piece of heavy ribbon and 
two sections of celluloid or ivorine form this 
unique card-receiver. The larger piece is 
fastened with narrow ribbon across the center 
of the ribbon, and on it the word " cards " is 
painted ; the ribbon is arranged in a loop and 




Fic;uRE No. 8. — Card-Reckiver. 



a full puff of white Surah, a row of velvet 
blossoms being arranged along the inside 
edge of the puff. The lining may be of 
quilted satin or layers of cotton covered with 
China or India silk. If a dainty perfume is 
desired, the cotton may be sprinkled with 
sachet-powder before the case is lined ; and 
the scent is usually that of the flowers used in 
ornamenting the cover. A plain band of 
plush or velvet may be applied on the edges 



end on either side and is clasped between the 
loops with the smaller section of celluloid, 
which is fastened with narrow ribbon. The 
ends are fringed and decorated with a flower, 
which may be painted or embroidered. 
These card-receivers are inexpensive yet very 
dainty and ornamental upon a table or stand. 
The ribbons may be of any color desired, and 
may be grosgrain, watered or some fancy 
variety. 






I- 



A A. X % x-; 

V.^iCr— 



yrmi 



X X 

X' X- >f . 7 A ;^ 






I30 NGGDLG ilND BRtlSH. 






Jewelled Wlare. 

Ornamental articles jewelled in rococo 
style are just now extremely fashionable. They 
are, when well executed, rather costly, but they 
may be very artistically imitated in what is 
known as relief work by any one who has a 
moderate knowledge of china decorating. 
The forget-me-not is a flower that is well 
adapted to the purpose. The design is 
traced upon the article to be decorated, and 
the leaves and stems are painted in their nat- 
ural colors, and then the petals are touched 
on with relief turquoise-blue color, which is 
prepared in a powder. A very simple me- 
dium for mixing with the relief color is com- 
posed of half a teacup of water in which half 
a teaspoonful of sugar has been dissolved. 
Only a few drops are mixed with the color, 
which should be of such a consistency that it 
will work freely, but will also s\ay just where 
it is placed. The effect is similar to tur- 
quoise jewels, provided the iiring is well done. 
In order to give the buds and some of the 
blossoms a paler tint than others, mix relief 
white with the relief blue. The red jewels 
which combine so harmoniously with the blue 
ones may be imitated by coloring relief white 
with capucine red. 



NSeDLG ilND B^^S^' 



131 




CHAPTER XVI. 




DEC0RATED THERMBMET^ERS. 



ilf^JTi OWADAYS almost every arti- 
cle of use can be made deco- 
rative as well, and this without 
tending toward the grotesque- 
ries which are sometimes 
given a " local habitation " in 
the name of decorative art. 
Among the things which lend 
themselves most readily to any attempt 
toward the beautiful are thermometers. Such 
varieties as are practical for determining the 
temperature of living rooms may be purchased 
for a trifling sum, and by the aid of a little 
ingenuity transformed into very attractive 
ornaments without at all impairing their use- 
ful properties. The following illustrations 
display some especially tasteful devices for 
them. 

Banner Thermometer. 
Figure No. i. — A slight foundation of 
pasteboard constitutes the background of this 
banner, which is of dark green plush embroid- 
ered in scarlet berries and foliage with 
filoselle. The thermometer is then securely 
glued on in the position represented, and 
balls of silk of the color of the j^lush are fast- 
ened at the lower ed^e to form a fringe. 



Suspending ribbons, fastened to the sides a 
slight distance from the top under loops and 
ends of similar ribbon, meet at the proper dis- 
tance and are tied together in a graceful 
arrangement of loops and ends. Chenille or 
silk cord may be substituted for the ribbon, 
and hand painting or a fine decalcomanie for 
the embroidery, though the latter is the most 
effective and decorative. 

Hanging Thermometer. 
Figure No. 2. — The equestrian suggestions 
of this thermometer are embodied in such 
articles as they are purchased, but they may 
be quite as tastefully carried out by any lady 
who will take the trouble to bend a piece of 
wire into the shapes of the stirrup and ring. 
Having done this she will crochet over them 
with silk, fiax-thread or crewel, and will simu- 
late the strap with imitation leather or per- 
haps with ribbon, and having adjusted it as 
illustrated with the aid of a fancy buckle will 
attach the thermometer, and before pronounc- 
ing it finished will tack a full rosette bow of 
ribbon to the ring. Then — well, then she will 
be very likely to decide that it is a most fit- 
ting gift to some man friend, who will be cer- 
tain to admire the deft manner in which she 



NeeDLG AND B^asH, 



has brought out the beauties of this dainty nished or gilded, but oftenest it is left in its 

piece of saddlery. natural state. 

Thermometer. Thermometer Easel, 

Figure No. 3.— The unique frame adopted Figure No. 4. — Thermometers set in an- 

for this thermometer is an ear of corn that chors, keys, crosses and other fancy frames 

was carefully dried after it became ripe. may be purchased in brass, ivory, silver, 

Enouo^h of the corn is removed from the cob wood, etc., and mounted on an easel or stand 




FlGURK .\u. I.— BaNNKK TlIICRMdMETKR. 



to permit the thermometer to fit snugly in as illustrated to form an ornament for a tabic 

place. A braided bright gold silk cord is or brncket. The front of the easel is covered 

fastened to the top to form a loop for sus- with velvet or plush, and the back and rest 

pending the article, and a large bow of wide with silk. It may be of carved or polished 

bright gold ribbon with a picot edge conceals wood, if desired ; or a rustic easel may 

the fastening of the loop and produces an be made of twigs or bark. For a birlh- 

elaborate effect. Sometimes the ear is var- day gift a full rosette bow of ribbon 



NGGDLG ilND BH^S^- 



133 



in two shades is effective fastened to tion of colors may be achieved when the easel 
one corner, with the words " Happy Birth- is of plush, velvet, satin or any similar fabric. 




Figure No. 2. — Hanginc; Thermometer. 

day " painted or embroidered on the most 
conspicuous ends. Of course, any combina- 




FlGURE No. 3. — rilERMO-METER. 



Decorated Panel for Thermometer. 

Figure No. 5. — This panel- is cut from 



134 



NeeDLs AND gi^tis"« 



cardboard and covered with plush, velvet, 
satin or any fabric pleasing to the taste. It 
is bordered all around with cord, which is 
coiled in fanciful designs at the four most 
prominent corners and arranged in single 
coils at the other corners. Handsome tassels 
depend from the prominent corners at the 
sides, and a bow of ribbon decorates the top 



smoothl}' covered with deep crimson plush, 
the back being of a light shade of satin. 
The graceful leaves upon it are appliqueed to 
position and may be purchased already em- 
broidered. A crimson satin ribbon extends 
from one side to the other at the lop, afford- 
ing a loop by which the thermometer is sus- 
pended ; and in one corner is a bow of the 





Figure No. 4. — Thermomkikk Easel. 



Fii;uRE Nu. 5. — Decorated Panel kor 
Thermometer. 



of the panel. A graceful floral design is em- 
broidered or hand-painted upon the panel, and 
the thermometer is then arranged upon the 
center of the panel, to which it is firmly se- 
cured. 

Decorated Thermometer. 

Figure No. 6. — The wooden frame in the 
corner of which this thermometer is set is 



ribbon and a bunch of cones. The cones, 
having been gilded, add to the pretty effect. 
If preferred, the leaves may be painted or 
embroidered on tlie material, but applique 
work is so much easier that it is more fre- 
quently purchased for such small articles. 
Any other combination of colors maybe chosen, 
but the crimson is always rich to look at and 
harmonizes with nearlv all furnishings. 



NeeDLG AND gF^as^* 



135 



Thermometer. and decorated with a spray of pansies done in 

Figure No. 7. — This thermometer is very natural tints with water-color paints. The 




Figure No. 6. — Decorated Thermometer. 




Figure No. 7. — Thermometer, 

uniquely mounted on a large pen cut out of thermometer is fastened on in the usual man- 
card-board, tinted sky-blue with water-color, ner, and a small silver wire easel supports it. 






:bE^l 



136 



NeeDLG AND BF^tlSH. 



01 






Raveled Edges aiid Dropped Stitcl^es. 



Sometimes they occur in fancy work, to its 
irremediable injury, but by a little fore- 
thought their worst efifects may be overcome. 
When working upon any material, the dimen- 
sions of which allow only for the design and a 
margin for making up, practical precautions 
against the curtailing of its size by raveling 
should be taken. If the material is inclined 
to fray, the edge should be overcast all 
around, and if the texture be especially loose, 
the further prevention of applying a thin size 
to the under side, just inside the line of over- 
casting, may be adopted. The white of egg 
forms a delicate and efficient size, suited to 
the most dainty textures. Diluted white glue 
is permissible for heavier fabrics having a 
loose weave ; while for silks and satins equal 
parts of powdered alum and isinglass dis- 
solved in hot water form a good size, the 
latter ingredients being often employed when 
a semi-repellant surface for painting on is 
desired. In working on canvas a few stitches 
often have to be taken out, and if scissors are 
employed the mesh of the canvas does not 
always escape laceration. The best method 
of mending the rent is by underlaying it 
with a bit of moistened court-plaster, pressed 
securely into position. The work may then 
be held to the lighi and the court-plaster 



pierced with a finely-pointed needle to corre- 
spond with the meshes of the canvas. Ex- 
treme care is of course necessary until after 
the weak place has been worked over, but if 
this process of mending be carefully executed, 
what might otherwise prove a defacement 
may be rendered unnoticeable, or if notice- 
able, noticeably good. 

If, perchance, two widths of canvas must 
be joined in order to extend the dimensions 
of a piece of tapestry work, do not, on any 
account, attempt to make the joining by means 
of an ordinary seam, but underlay the corre- 
sponding edges of both pieces of canvas with 
a piece of the same variety and work through 
the meshes of the underlying portions, as well 
as through the sections upon which the design 
is being developed. If the edges of tlie 
joined sections are merely brought together 
over the underlying piece, there will be no 
ridge in the work, and the joining will be as 
secure as if a seam were made. A caution 
frequently expressed may be repeated here. 
If practicable, use the same make of cotton, 
worsted, silk, or whatever the working- 
material may be, throughout; as different 
makes, while apparently similar, may dis- 
play noticeable points of difference when 
worked. 



^^"0 



>« 

X: 



■i^st- 




CHAPTER XVII. 




0M JTHE (I)R1T1MG-DESK. 



LABORATE pen-wipers are not 
al\va}s suggestive of frequent use, 
and yet everybody may reasonably 
expect to find on the writing-desk 
or table something beside pen, 
ink and paper, and every lady 
likes to prepare the pretty trifles 
which combine beauty with 
utility. 



Butterfly Pen-Wiper, 

Figure No. i. — The first requisite to such 
a butterfly as this is his body, which is formed 
of brown velvet firmly stuffed with cotton. 
His horns are of wire, wrapped with brown 
crewel of the proper shade ; and his eyes are 
two large round beads. His wings are of 
gold and dark brown satin, embroidered as 
pictured in satin stitch of the same shades. 
Bright-colored flannels, properly pinked, are 
used for the wipers and are much larger than 
the butterfly himself, and so show beyond him. 
Fine effects may be produced by copying in 
satin stitch the coloring of the natural butter- 
fly. The one shown is of the full size of the 
pen-wiper. 

Leaf Pen- Wiper. 

Figure No. 2. — A geranium leaf was used 



as a model for this beautiful pen-wiper, and 
the green cloth from which it is cut is shaded 
and veined to look as near like the natural 
leaf as possible. A rubber stem from some 
artificial leaf may be attached between the 
other two leaves, which form the wipers and 
are cut from dark-green cloth. The edges are 
all pinked, and the shading of the upper leaf 
may be done with oil or water color paints. 
Any other kind of leaf may be used for a 
model, the oak, ivy, maple, begonia and cycla- 
men leaves all being pretty and effective. 

Pansy Pen-Wiper. 
Figures Nos, 3 and 4. — The exact size of 
this pretty pen-wiper is portrayed at Figure 
No. 3. The large petal at the top is made of 
deep purple velvet, the center petals are of 
deep yellow velvet and the lowest petal of 
pale yellow. The petals are each button- 
holed about the edge with flosses of their 
own color, and are arranged to lap in the 
manner represented. Each section is shaped 
as pictured, only that the underlapping petals 
are extended to meet in points under the 
center petals. The long stitches are made 
with deep yellow on the purple, with purple 
on the deep yellow, and with pale violet on 



138 



NeeDLG AND BH^SH. 



the pale vellow. The wipers, in one or more such articles should be selected to accord 
colors and various sizes, are cut from flannel- with the natural blossom, of which there are 




Figure No. i.— Butterki.y Pen-Wiper. 




Figure No. 2. — Leaf Fen-Wii'er. 

cloth or any similar material, and .shaped as many varieties. Velvet, velveteen and cloth 
pictured at Figure No. 4, which illustrates the are among the most desirable fabrics in use 
back view of the pen-wiper. The colors for for them. 



NeeDLG iiND BH^SM. 



139 



P„„d-Li.y Pen.W,p=r, and Method of Making It. .0 the flower. The three sizes used are sho.vn 

F,r.URr, Nos. 5 ano 6, anb D.aokams A by D.agram A, in which the clotted, nes sl,ow 

A.„ B- The graceful pond-lily is taUen for a tire two sntailer sizes and the sol.d hoe the 





Figure No. 4.— B.\ck View of 
Pansy Pen-Wiper. 



Figure No. s.-Fkont View of Pansy Pen-Wiper. 




Figure No. 5.-P0ND-L1LY Pen-Wiper. 

n,ode, in „,aki„g the pe„.wipershowr> at Figure largest size. The largest ^^^^ ^^^f^ ^ 
No. 5. The wipers are ,nade of green cloth and the edge with bottou-hole st.tch.ng and the 
are the shape of the floating leaves that belong edges of the other two are p.nked. The 



140 



NSeDLG AND BHtlSH. 




DrAORAM A. — Sizes of Witers for Pund-Lii.y Pfx-Wh'kr 





Figure No. 6. — Completed rETAi. for 
Pond-Lily. 



Diagram B.— Shape of Petals for 

POND-LlLV. 



nggBlg and 5i^a$H. 



141 



shape of the petals for the flower is shown by 
Diagram B. There should be two rows of 
petals, and white cloth is used for them. Cut 
as many petals as required, and in the straight 
end of each make two plaits as shown by 
Figure No. 6, bringing the two dots nearest 
the side edges — indicated in Diagram B — 
over to the middle dot. The petals are sewed 
at the plaited ends to a piece of green cloth, 
and the yellow center or pollen is made by 
threads of gold floss or worsted. When com- 



the many beautiful articles of ornament and 
use made from them. 

Fancy Pen-Wiper. 
Figure No. 7. — Six sections— the light, of 
yellow satin ; the dark, of plum-colored vel- 
vet — comprise the top of this pen-wiper, each 
section being decorated with embroidery. 
The sections are carefully pieced together, 
and the outer edges are pinked. Under- 
neath are placed six pieces of dark flannel, 
cut the proper shape and pinked, that form 




Figure No. 7. — Fancy Pen-Wiper. 



pleted the flower js sewed firmly to the leaves 
near the stem end. The white, blue or pink 
flower may be perfectly copied by using the 
desired color of cloth, felt or flannel for the 
petals. 

As '• little drops of water and little grains 
of sand make a mighty ocean and a pleasant 
land," so little scraps of silk, ribbon, velvet, 
etc., and little stitches made bv loving hands, 
contribute to the making of pretty, cheerful 
homes, without which this pleasant land 
would prove a very unpleasant abiding-place. 
The utility of so-called "scraps" is proven by 



the practical part of the article. Any com- 
bination of colors liked may be used for such 
a pen-wiper, but it will be found that positive 
contrasts of dark and light are most effective. 
Care must be taken to make them neatly, or 
else sincere thanks will not come from the 
recipient — or, at least, ought not. 
Shape of Sections. 
Figure No. 8. — The exact shape and size 
of each of the pen-wiper sections is here 
shown, with the design wrought on the dark 
section, which is that of golden rod and 
daisies done with embroiderv silk. 



142 



NeeDLG anB BRtiS^' 



Embroidery Design for Pen-Wiper. 

Figure No. 9. — The embroidery design on 
the light sections is here shown ; it is done in 
pale lavender and green silks, though that 
ma}- not be a faithful representation of na- 
ture. Forget-me-nots with their foliage, ur 
any small blossoms may be selected for the 
floral designs. 

Pen-Wiper. 

Figure No. 10. — This engraving illustrates 



ribbon the color of the binding is fastened to 
the fold of the cover midway between the top 
and bottom. The cover is decorated with 
the words illustrated, and the initials of the 
owner will take the place of those used. The 
letters may be done in outline stitch or with 
pen or brush. Ribbon of any preferred shade 
or kind may be chosen for the binding. 

Autumn-Leaf Pen-Wiper and Diagrams for 
Shaping. 

Figures Nos. ii, 12 and 13. — This beau- 





FiGURE No. 9. — Emhroiperv 
Design for Pen-Wiper. 



Figure No. 8. — Section, with Design, for Pen-Wiper. 



a very handy and pretty pen-wiper. The 
cover, which is in book form, is made of a 
piece of chamois about twice as long as it is 
wide and bound all round with wide ribbon 
stitched on. The leaves or wipers are a 
trifle smaller than the cover but shaped the 
same way, and are of the chamois cut in 
uniform notches at all the edges. They are 
tacked to the cover where they fold, with in- 
visible stitches ; and a large bow of wide 



tiful pen-wiper may combine all the hues 
natural to the maple leaf in Autumn. Each 
leaf may be of one shade of the natural 
maple leaf, and the whole grouped artistically 
on a foundation shaped as shown by Figure 
No. 12. The wipers are all shaped like this 
foundation, and are pinked or notched at the 
edges. The leaves are veined with embroi- 
dery silks, and a pretty bow of ribbon is fas- 
tened over the too of the foundation. The 



NeeDLG AND gF^QS^* 



143 



size of the leaves and the outlines for veining indicating the three sizes, only one of the 
are fully illustrated at Figure No. 12 ; the largest and two of each of the other sizes 




Figure No. iq. — Pen-Wipek. 




Figure No. 1 i.— Autumn-Leaf Pen-Wiper. 
dotted and straight lines about the margin being required. Usually the leaves will be 



144 



NSeSLe AND 5Htl$H. 



lade of velvet. ]5lush or silk, and sometimes of with embroidery silks. The wipers may 



Figure No. 12. — Diagram for Shaping the Foundation of AutuiMN-Leaf Pen-Wiper. 




FUUJRE No. 13. — I)I.-\GRAM FOK .SHAPING THE 1 ,KA VKS VV A i; ll'MN-l ,EAF I'EN-WlPKR. 

the veinlng will be done by the brush instead be of cloth, liannel or some similar texture. 



NeeDL© AND Bi^QS^- 



145 



and may all be of one color or each may be 
of a contrasting color, as preferred. 

When available space is limited, personal 
ino-enuityis often taxed to know how to use it 
to advantage. 

A writing-table that may be arranged with 
little trouble even in a room having but lim- 
ited space, consists merely of a deep shelf 
with a rounding front edge supported by 
brackets in a corner. A covering of felt with 
a lambrequin or valance of the same hanging 
from the front edge is a suitable finish, and 



ent seems quite satisfied when a blotter is 
suggested. This one is made in regular book 
fashion. The binding of pasteboard is cov- 
ered with dark-green velvet, and the edges 
are outlined with gold cord, which is turned 
in loops at the back as gold would be on a 
veritable book. The word " Blotter " is 
embroidered with gold thread across the 
center, and a cluster of loops and ends of 
gold-colored satin ribbon is arranged just 
above the word. The sheets of blotting 
paper are fastened by a strip of ribbon com- 




FiGUKF. No. 14.— Fancy Blotter. 



when supplied with blotters and other accesso- 
ries belonging upon such an article the result 
cannot fail to be satisfactory. Of course any 
piece of absorbent paper will form a blotter, but 
fastidious tastes like to devise pretty shapes 
and ornamentations for these practical acces- 
sories, and they will find in this chapter many 
helps toward the realization of their desires. 

Fancy Blotter. 

Figure No. 14. — The decorated blotter is 
certainly a pretty ornament and an article that 
every man and woman likes to possess. The 
never-ending wonderment as to a little pres- 



ing through the center of the middle sheet, as 
in a portfolio. In this way the putting in of 
fresh sheets is made quite easy, and the book 
may be kept pretty and decorative and yet be 
in active use. 

Ink-Blotter. 
Figures Nos. 15 and 16.— A useful and 
pretty accessory to a writing desk or table is 
illustrated in this engraving. It is formed of 
two pieces of cardboard, each of the size of a 
blotter, covered smoothly with silk, velvet, 
plush, satin or any pretty texture. The one 
for the upper side is decorated about the 



146 



NeeBLG AND i^i^asH. 



eciges with upright stitches of varying lengths, 
done with silk floss. The covered pieces are 
placed, one at each side of a cluster of blot- 
ters ; and all are held together with two pieces 
of ribbon, bowed prettily on the uj^per side ; 
one piece having a pretty vine design em- 
broidered on it where it crosses the under 
side, and the other piece having the initials 



which is also continued across the top of the 
folded portion and tied in a bunch of loops 
in each corner. Above the pocket is a spray 
design of flowers that gives an elaborate and 
dainty effect. The ornament is suspended 
by cords, which are tied in a bunch of 
loops at the point of suspension. Plush, vel- 
vet, silk, ribbon or any pretty fabric may be 




Figure No. 15. 





Figure No. 16. 
Figures Nos. 15 and 16. — Ink-Blotter. 

embroidered upon it. The ribbons may be 
plain or fancy and may contrast in color with 
the outsides. 

Ornament for Writing-Desk. 

Figure No. 17. — This pretty ornament is 
formed of cardboard covered on one side with 
silk and on the other side with plush ; it is 
folded up deeply at the bottom to form a 
holder for the pens, pencils, pencil-scraper, 
etc. The edges are bordered with cord. 



Figure No. 17. — Ornament for Writing-Desk. 

used for such articles, and the colors may be 
selected to please the taste. Ribbon may 
be used instead of cord, and the floral decora- 
tion may be painted, embroidered or appli- 
que'ed. 

Decorated Blotter. 

Figure No. 18. — A large oblong of blotting 
paper forms the back of this blotter, and to 
either side edge is joined a section half as 
wide, the sides and ends of the parts being 



NeeDLG anB gp^ci5H. 



147 



held together by cords run through holes in 
the sides near the top and bottom and tied 
together in long loops and ends. The upper 
parts are also held together by cord arranged 
in a similar way at the front edges, midway 
between the top and bottom, and are orna- 
mented with circles of various sizes arranged 
as pictured and decorated with dots and floral 
sprays that also extend outside the circles. 



a section of blotting paper folded over like a 
binding, all the parts being fastened together 
by a ribbon drawn through near each end of 
the binding and tied in a pretty bow. The 
outer portion of the blotter is decorated with 
a neat floral design in water colors. An}- 
preferred decoration may be used, pen-and-ink 
sketches being often preferred to water-color 
decorations. 




P'iGURE No. i8. — Decorated Blotter. 



Figure No. 19. — Fancy Dlotter. 



Between the covers are one or more sheets of 
blotting paper arranged to slip in and out for 
use. The covers of the blotter may be white 
or tinted and may be decorated with any taste- 
ful designs. 

Fancy Blotter. 

Figure No. 19. — This engraving illustrates 
a pretty blotter in book form. It consists of 
squares of blotting paper fastened together by 



Pocket for Stationery. 
Figure No. 20. — An oblong piece of card- 
board forms the back of this useful and pretty 
pocket. It is covered on one side with velvet 
or plush and on the other side with satin, silk 
or Surah. The front of the pocket has for its 
foundation a piece of cardboard that is deeper 
than half of the back at one side and as much 
less than half the depth at the other side, thus 
having a slanting upper edge. The front 



NeeDLG AND gi^asH. 



piece is covered like the bacl<, and tlie parts 
are put together, with the satin-covered sides 
facing and the lower edges even. Above the 
front piece the back is bordered with a row of 
thick cord, which is also carried across the 
top. Tassels suspended by long cords alter- 
nating with tassels suspended by shorter 



A ribbon, passed through a large eyelet 
worked near one upper corner of the pocket 
and fastened under a bow at the opposite cor- 
ner, is used for suspending the pocket. Two 
or more colors may be introduced in pockets 
of this kind, and any combinations liked may 
be adopted. If two fabrics be not desired, 




Fk;ukk No. 20. — Pocket for Stationery. 



Figure No. 21. — Blotter-Holder. 



cords form a pretty fringe decoration for the the material may be the same on both sides 
bottom of the pockets, the tassels being and of different colors. Pretty cre'tonne may 
arranged in alternating pairs of contrasting 
colors. A pretty applique decoration is 



added to the front of the pocket at the deep- 
est side, the decoration being selected from 
among Kurslieedt's Standard floral npplique'es. 



be used for such pockets, with good effect. 
Blotter-Holder. 



Figure No. 21. — A piece of cardboard just 
the size of the blotter forms the foundation of 



NeeBLS anB gi^tiSH. 



[49 



this pretty ailicle. The corners are capped and may be removed when a new blotter is 

by pieces of ribbon folded to form a point, but desired. The caps may be painted, embroid- 

two three-cornered pieces of silk, satin, etc., ered or otherwise decorated, with elaborate 

joined al two sides, may be used if desired. effect, in whatever way the maker's skill is 

The loose edges are bordered or bound with best exhibited. 




Figure No. 22. — Paper- Weight. 

velvet ribbon studded with gilt, silver, pearl, Paper-Weight, 
or other beads of any preferred shape. In Figure No. 22. — A piece of stone, hand- 
one corner is attached a large bunch of roses, painted as pictured, was used for this unique 
which, however, may be replaced by a large paper-weight. Any kind of stone may be so 
bow of pretty ribbon or a cluster of pompons. decornted, and it may be of any shape, but is 
The blotter corners are caught i^ider the caps best for decoration when smooth. 



§immm 



'b'i^.^i^W.; 






,150 



NeeDLG AND gi^tis^* 



r^^^ r-jjrf'i^ r^^S^^^ r^^i^ 



^■»t.y»^ ^-»c-y»-" 



r^*«.^r*" r-Jltt^s^ 



;^ Case for ^i^ittiiig-ljeeaies. 

Its foundation is a Iiollow pasteboard tube, 
such as large sized publications are some- 
times enclosed in for mailing; it is lined with 
Silesia, and its ends are finished with full 
puffs of satin, which are each sewed at one 
edge to the pasteboard and at the other 
drawn into a frill by means of narrow ribbons 
run between double lines of stitching. One 
of the puffs may be closed permanently, while 
the other is arranged so that it may be untied. 
Between the puffs the tube is covered 
smoothly with plush, and at the ends, where 
the plush overlaps the satin puffs, thick silk 
cord is wound. A handle for hanging it up 
by is also provided by means of a cord, which 
extends between the ends and has consider- 
able extra length. Such a case is very pro- 
tective to the long bone and wooden needles 
as well as to the finer steel ones. If a tube 
for the foundation be not at hand, a piece of 
pasteboard may be easily rolled and gummed 
ihto the proper shape. Such a case is adapt- 
able to a variety of purposes, serving admi- 
rably as a receptacle for a handsome fan or 
for any small article which can only be kept 
in good shape by careful handling. 






NSeDLG AND BI^QSH. 



'51 




€^m'B^\y^ 5.A Ajsc jC? 



CHAPTER XVIII. 



FRAME AMD GASES FQR PH0T0GRAP?IS. 



/';^'~|M ANDSOME cases for photo- resplendently in these pretty cases. And 




graphs are gradually super- 
seding the old-time album, 
and they are so much easier to 
handle and so much prettier to 
look at that the change is very wel- 



who does not admire individuality, even if it 
be somewhat grotesque ? 

Photograph-Case. 

Figures Nos. i and 2. — Two views of a 



come. Then, too, these cases may be made handsome photograph-case are here given, 




Fi(;uKE No. I. — Photograph-Cask, Closed. 



even by the amateur in decorative art, Figure No. i showing the case closed and 

and they admit of so much originality in color Figure No. 2 showing it open. The article is 

and fabric combinations, and also in decora- made much after the manner of a moucJwir 

tion, that there is a positive possibility of case; it consists of a section of olive plush 

something new being achieved, in effects at lined with pink Surah, the whole being given 

least. One's individuality may shine out considerable thickness by layers of sheet wad- 



152 



NeeDLG iiND BH^SM. 



ding well spiiilkled with sachet powder. The respond with the perfume used. The word 

ends are folded under nearly to the center and decoration in the proper size is illustrated at 

the edges brought together are seamed, thus Figure No. 3 and may be done in silks, 

forming pockets to contain the photographs. flosses, metallic threads, bullion or cord, as 

On the outside near one end the word " Pho- preferred. Sometimes the monogram or 

tographs" is embroidered diagonally, and at initials will be embroidered on one of the 

the other end is fastened a bunch of pink car- pockets. 




Figure No. 2. — Fhotograph-Case, Open. 




Figure No. 



-WoKIl DkCOKATION for I'lIoroGKM'lI-CASE. 



nations and a bow of wide soft ribbon, one 
end of which is fringed. Of course, tiiere is 
no limit to the choice of colors, and one color 
may be used throughout if desired. Rich 
oriental stuffs, brocades, flowered fabrics, 
velvets, silks, etc., are suitable for such cases, 
and when flowers are apiilicd ihev should cor- 



Word Decoration for Photograph-Case. 

FiGURK No. 3. — This engraving illustrates 
the proper style and size of the word decora- 
tion on the pliotograph-case illustrated at 
Figure No. 1. It may be embroidered or 
painted, as preferred, or, if madeof satin o\ faille, 
it mav be ornamented with decalcomanies. 



NeeDLG AND BRtiSH. 



153 



Photograph-Case, Open and Closed, and Word shown at Figure No. 4. A row of thick silk 
to Embroider on It. cord borders all the edges, and the fancy 
FicuRES Nos 4, 5 AND 6.-This case is a stitching is done with gold embroidery silu. 
beautiful ornament for a table and may com- Ribbon ties the shade of the velvet are fas- 
bine any two preferred colors, in this tened to the ends and tied to close the case, 




Figure No. 4.— Photugraph-Case, (.)pen. 



instance the velvet forming the outside is a as shown at Figure No. 5. The word " Pho- 

light, bright olive and the quilted silk lining tographs " is embroidered in outline stitch 

is" pile gold. The lining and outside are with gold embroidery silk on both sides of 

sewed together at all their edges, and the the case, the proper size and style of letters 

ends are'folded over to form pockets, as being combined in the word shown at Figure 



154 



NeeDLG AND 5i^a$H. 



No. 6. The embroidery stitches are of the Ottoman or other silk may be used instead of 
simplest order and by their very simplicity are velvet. Silk, Surah or satin may be used tor 




iiGUKE No. 5. 




FKJUKES NoS. 5 AND 6. 



FlCL'KE No. 6. 

-Pii.rroGRAiMi Case Closed, and Word to Emkkotder on It. 



effective. Any preferred colors may be as the quilted lining. Sometimes the word will 
tastefullv combined in this wav, and plush, be painted or worked in gold or silver bullion. 



NGGJ^Le AND g^tiSH. 



155 



Fancy Photograph-Frame. jng of the pieces together over this making a 

Figure No. 7. — This frame is made by cut- less bulky seam than plush. Sprays of flow- 
ting three pieces of Bristol-board the desired ers are embroidered upon each frame. Small 




Figure No 7. — Fancy Photogka.ph-Fra.mk. 

shape and covering them with deep crimson bows of crimson satin ribbon decorate the 
plush. The edges are bound when required corners of the center picture. Velvet, satin 
with narrow ribbon the same shade, the sew or brocade may be used if preferred to plush. 



"^ < X' X- X X X K X X > •Vv-sroj 

X X X X >^ -Jj V»*^ 



'^'^ X. < X X 

>■• io- 1 ' ■ - . - 



X X 



156 



NeeDLG AND BH^$H. 



, ■ V^-■-^ ^^?^-^ ^^v~. ^^^ ^^'v-' 



'^^vVr < -x X x :X 



•^. 



X X X X > ' 1 xTirSi 

a X _'X _'X > ;^;:^-^^ 



Jill Ir^expei^sive Screei]. 



One that deserves this adjective and many 
other complinientarv ones in addition, has for 
its frame a very small clothes-horse stained 
with a dark walnut stain. Its panels are of 
wood, but at a little distance look like mat- 
ting. They cost but a trifle and are elabor- 
ately ornamented with fruit designs done in 
luster paints. For their lower edges a unique 
fringe is made of rope cut in short lengths 
and frayed out to form a full, crimped tassel. 
Several short lengths are then tacked on the 
frame in such a way that the tassels form a 
fringe below a pretty scroll. Each panel is 
suspended upon the frame by a piece of looped 
rope frayed out into fluffy tassels at its ends. 
If a folding screen is not in request a single 
panel might be developed in the same style. 

A recent fashion in furnishing sleeping and 
sitting rooms has led to some pretty inno- 
vations in the framing of screens. One 
intended for a sleeping room having a pink 
chamber-suit in it has a frame of unpainted 
white pine. It is covered with cre'tonne in a 
floral pattern, the covering being brought 
smoothly over the frame and tacked to posi- 
tion with fancy tacks, so that no woodwork is 
visible. 



A very artistic idea is developed in another 
having each panel covered with cre'tonne 
printed with a pastoral scene, while the frame 
is concealed by similar material printed in a 
small floral design. Cretonne in very pretty 
designs may be purchased for a moderate 
sum, and its artistic possibilities are now so 
fully realized that its use for draperies, furni- 
ture-coverings and even wall-hangings is 
general. In country houses it is especially 
useful, though its use is by no means limited 
to such dwellings. Picture a sunny room in 
a cottage. The furniture is enamelled in 
white, with lines of gold here and there. 
Some of the chairs are of the rush-bottom 
style, which after long neglect are again 
admired. A couple of them are rockers, and 
into these are tied pretty cushions of cre'tonne. 
A screen entirely covered with cretonne stands 
in front of the wash-stand. The carpet is a 
plain' ingrain which displays to good advantage 
the prettv rugs, and the walls are covered 
with paper harmonizing in its ground color 
with the white furniture and in figure with the 
dainty cretonne. A more prettily furnished 
"best room," with the same expenditure, 
'twould be tlifficult lo imagine. 



P^^, 






KS^ 



NeeDLG ANU gi^asH, 



157 




CHAPTER XIX. 



FAMS, Am?md m DSE AMD 0RNAMEMT. 




ANS, little and large, 
hand-painted or only 
covered with showy 
paper, are among the 
various articles which a 
present fancy makes highly 
decorative. Jn this chapter several pleasing 
devices for their use and arrangement are 
illustrated and so clearly described that they 
may be easily duplicated. 

Fan Lamp-Screen. 

Figure No. i. — This article, which is as 
useful as it is ornamental, results from a 
very simple device. The standard is ati 
ordinary letter-file with a pointed prong and a 
round base. Over the prong is slipped the 
handle of a Japanese fan which, being hollow, 
descends until it rests upon the base. The 
latter is covered with a circular piece of satin 
gathered into a frilled finish and tied around 
the end of the handle with ribbon. The 
hanc'le is wound with ribbon and the fan is 
ornamented to accord with the fancy of who- 
ever is making it. In this instance it is cov- 
ered with Silesia and overlaid thickly with 
finely crimped ]5aper, which forms a fringe 
around the margin. Upon one side a bunch 



of paper flowers is fastened. Such screens 
may be covered with satin and ornamented 
with embroidery or hand-painting. A very 
pretty one is made of a fan covered with daik 
green silk and overlaid on the outer side with 
buttercups nestling in artificial grass, which 
also covers the base. As they are not easily 
overturned and may be moved in any direc- 
tion, they are much appreciated by those 
whose eyes are sensitive to strong lights. 

Wall-Pocket. 

Figure No. 2. — Two paper fans, one con- 
siderably larger than the other, are used in 
making this pocket. They are opened wide, 
the lower portion of the smaller one being 
exactly even with that of the upper. Satin 
ribbon is then drawn through the sticks of the 
two, confining them together; and a pretty 
bow of satin ribbon, tipped with silken balls, 
is placed on each side of the sticks. A 
larger bow, with four ends, all ball-tipped, is 
placed at the ends of the handles, forming a 
pretty finish. The upper portion of the 
small fan is carefully tacked at each side to 
the larger one, and bows of ribbon are also 
placed there. Ribbon strings placed at con- 
venient distance at the top of the large fan. 



158 



NseiOLG AND Bi^a$H. 



tie in the middle, forming a graceful method 
of hanging the pocket. Fans of one tint or 
those of contrasting hues may be selected. 
In this instance the upper fan is of dark sage 
green and tlie lower one of bright scarlet. 
The ribbons are scarlet, and the silk alter- 
nately of scarlet and sage green. 



any shade, while the front part is hidden 
under a cover of bright terra-cotta satin. A 
pasteboard, shaped like the fan, forms the 
pocket. It is neatly fitted, and is covered on 
the outer side with terra-cotta and lined with 
pink satin. A good contrast of the two 
colors is shown by the slash down the center, 




Fic.uk K No. 2 — W A 1. 1 -Pocket. 

Fan Wall-Pocket. which is tnrncd back in ^' shape. At the 

FiouRK No. 3. — A pretty wall-pocket in point of this V-shaped opening is a bunch of 

which to stick letters and cards is of great dried grasses and flowers, and long loops and 

use, and snch a one is here shown. An ends of Icrra-cotta ribbon. A similar cluster 

ordinary Japanese fan forms the foundation ; of grasses and ribbon is at each corner of the 

and the back may be covered with Silesia of fan and on the handle. The joining of the 



NeeDLG AND B^^S^- 



^59 



pocket portion to the fan is neatly hidden 
under a silk cord, and all the edges are 
fmished in the same manner. Sage and pale 
blue, and cardinal and pale blue, will be 
found very pretty combinations for such 
pockets. 

Fan Wall-Pocket. 

Figure No. 4. — The foundation of this 
pocket is an ordinary Japanese fan, which 



from time to time suggest themselves to the 
housekeeper, when there are trifles in the way 
and no time to put them out of the way. 
The pocket may be of any pretty material. 

Decorated Fan. 

Figure No. 5. — A large palmetto fan is 

used, and is smoothly covered on one or both^ 

sides with velvet to within some distance of 

the handle, the rounding margin of the velvet 





Figure No. 3.— Fan Wall-Pocket. 



Figure No. 4. — Fan Wall-Pocket. 



may be purchased for a trifling sum. One of 
its sides is covered with a full, flat pocket of 
satin that is whipped to the reed about the 
edge in over-and-over style, after which a 
border of bead fringe is added. A bow of 
ribbon and a cluster of cherries are caught at 
the center of the top, and another ribbon is 
tied about the handle over a hole bored for a 
string by which to suspend the pocket from 
the wall. The pocket is useful for collecting 
scraps, holding papers and letters, and a 
multitude of other little things which wall 



being bordered with a silk cord. Above the 
velvet it is covered with silk, satin or Surah, 
or perhaps with Silesia, which is shirred in 
around the handle with a little frill finish at 
the top. Over the velvet a spider's web is 
formed with gilt or silk floss, and old-man 
spider himself may be purchased in some 
metal and fastened on. Then the cat-tails 
and grasses, which have been so carefully 
collected during the summer in the country, 
are artistically grouped and fastened to 
spread prettily over the fan just above the 



i6o 



NeeDLG AND BH^S^« 



web. Any preferred garniture of embroidery 
or hand-painting may be applied, instead of 
the web and spider. 

Decorated Palm-Leaf Fan. 

Figure No. 6. — A simple palm-leaf fan of 

good size is carefully painted with gold liquid 

paint and beautified by a cluster of three 

ostrich tips fastened to droop gracefully near 



or artificial fiowers may be used instead of 
the feathers, if preferred. 

Ornamented Punkaj Fan. 

Figure No. 7. — This fan is large and 
graceful-looking, and has a long, thick handle 
turned to one side. A strip of pale-gold cloth 
decorated with fancy stitches done with fioss 
is applied all along the top. To the lower 





Figure No. 5. — Decorated Fan. 



Figure No. 6. — Decorated Palm-Leaf Fan. 



the handle and a strip of ribbon passing from 
under the tips along the side, terminating 
under the edge. The tips may be some that 
have done service on a hat or bonnet, and 
the ribbon may match or contrast with the 
tips and be of any preferred variety. Such 
fans are fastened against the wall or artis- 
tically placed on the table or mantel, where 
they form effective backgrounds for dainty 
statuettes, small vases, etc. A bunch of paper 



part at the left side is added a crescent- 
shaped section of the same fabric decorated 
along its lower edge with fancy stitches and 
attached to the fan with large fancy stitches; 
this forms a pocket for papers, work, etc. A 
very wide ribbon is tied in a bow about the 
handle. Japanese figures are painted or 
inked on the leaf. The cloth may be of any 
color preferred, or velvet, plush, satin, cre'- 
tonne, etc., may be used instead. Such fans 



NeeDLG iiND BK^S^- 



i6i 



are usually made to stand against the wall in Fan Wall-Pocket. 

some corner where they will be effective, and Figure No. 8. — A large Japanese fan and 




Figure No. 7. — Okxamenteu Tunkaj Fan. 



are often richlv embellished with joeacock a similar fan of much smaller size are joined 
feathers, painting, embroidery, etc. together by ribbons to form this ornamental 



[62 



NeeDi^e and gi^asH. 



wall-pocket. The handle is removed from Whisk-Broom Holder, 

the larger fan, which is firmly secured at the Figure No. 9. — A Japanese fan of the 

bottom to the smaller one. Two pair of usual kind constitutes the foundation of this 

ribbon ties are sewed at suitable intervals to holder. It is almost covered with deep crim- 

the fans at one side and tied in pretty bows son satin, and the joining to the fan is 

so as to hold the fans in place ; and a concealed under a heavy cord of silk. Two 

narrower ribbon is run through the fans at strips of ribbon are arranged across it as 




Figure No. S. — Fan Wall-Pocket. 



Figure No. 9. — WHisK-BaociM Holder. 



the opposite side low down and loosely tied. shown in the illustration, the ends being 
A cord edges the fans all around. A bunch caught under the cord ; and a fringe finishes 
of bright fruits and their foliage is fastened ench one prettily. At the opposite ends, 
just above the handle. Sometimes the fans v>'hich meet at one corner of the fan, is a bow 
will be covered with Watteau, striped or of satin ribbon, and then, when the ivory- 
figured silks, though they are sufficiently handled brush is inserted, the whole effect is 
decorative in themselves. extremely good. 



KeeDLG AND gi^a5H. 



163 



Fan Scrap-Bag. fastened at the upper ribbons, pass along tlie 

Figure No. id. — This pretty bag is made sides of the bag, and, after being left long 

of a large Japanese fan, from which the rivet enough to form suspension ties, are bowed 

has been removed. The fan is doubled so prettily together. The fan may show any 




Figure No. 10. — Fan .Slkap-Bac;. 



that the ends meet, and through the holes design and combination of colors preferred, 

that formerly held the rivet is run a cord that and the ribbon may be of any hue and be 

holds them closely together. Ribbon is run plain or fancy, as desired. A blue fan, with 

in and out about the fronds, and ribbons, pink ribbons, is pretty. 



164 



NseDLs -rkQ 5H^s^- 






%: - iO' A W X 'X XXX -X .y, A 



Y'^ 



V. 






@ 



Paii]tii^g 01^ Serine or Boltir^g-Glotli, witl? ^ater-Colors. 



Both scrim and bolting-cloth are exceed- 
ingly dainty and effective backgrounds for 
flower or fruit designs in water colors and 
tlius decorated, they are made up into artis- 
tic and beautiful scarfs, bureau-covers, tidies 
and various other articles. For the purpose 
of illustration we will imagine that sprays of 
daisies are to be painted by a beginner upon 
bolting-cloth, and we will begin our work by 
sketching or stamping the design upon the 
fabric. The outlining must be lightly done, 
owing to the delicacy of the fabric and the 
material should be first spread upon blotting- 
paper and tacked smoothly. 

Chinese-white is an excellent body-color, 
and should be laid evenly upon all the parts 
of the design. Do not lose sight of the fact 
that superfluous brush work should be 
avoided in the use of water colors. Every 
stroke should count, and that this may be the 
case the color should be ground down 
smoothly upon the palette until it is like 
cream in consistency. It must be applied 
with up and down strokes and not worked 
about or driven into the fabric. After the 
body color has been given ample time for 
drying, paint over it lightly with the colors 



needed for the foliage and retouch the daisies 
with white ; warmed with a trifle of pink-mad- 
der, using lemon-yellow for the centers, and 
shading with a suspicion of black if the study 
suggests shadows of considerable depth. 
Chrome and emerald greens will produce the 
foliage tints, some of which may be given a 
rather delicate hue owing to the semi-trans- 
parent effect of the material. 

In painting in the tints of any flowers upon 
the body colors they should be spread or 
floated on very lightly, and the eye should de- 
termine the distance of the stroke in advance 
of the brush, as working up and all efforts 
toward elaboration of detail are fatal to any 
branch of water-color painting and especially 
to decorative work. This principle does not 
interfere with the necessary retouching, etc., 
but it is opposed to a habit of striving for 
perfection of detail instead of aiming for effect. 

In painting any flowers except those whose 
body colors call for the use of lemon or 
chrome yellow a body tint of white should 
first be laid on, and in laying on the natural 
tints in the second coat the brush should not 
be used in a way to disturb this opaque body 
color. 



NeeDLs AND 5H^SM= 



165 




CHAPTER XX. 



PANGY PRAMS F0R ^IRRGRS AND PICTURES. 




HE making of pretty frames 

for mirrors and pictures is 

/ ^-^ not beyond the possibilities 

i of ingenious fingers accustomed 

to the uses of the needle or brush, 

and the specimens illustrated in 

this chapter may be easily repro- 



duced. 



Decorative Frame for a Mirror. 
Figure No. i. — The liking for looking at 
pretty things certainly must be strong when 
it extends to our mirrors, because we look at 
them so often ! And yet that is the very 
reason why they should always be in gay 
attire. The foundation for a mirror frame 
can be gotten at any of the shops that supply 
artists' materials, and then the decorative 
material may be smoothly fastened to it. 
The one illustrated is covered with dark blue 
plush, upon which are dogwood blossoms and 
leaves in white and olive plush, appliqueed 
with yellow floss. The effect is charming — 
one wants to look in a mirror that reflects 
Spring always. This is hung in diamond 
fashion, bows of satin ribbon of the blue tone 
being placed just where they seem to hold the 
pretty flowers in position. While any col- 



ored velvet or plush is in taste, still it will be 
quickly understood by those who have studied 
decorative effect, why the preference is given 
to a dark tone — one does not weary of it, as 
would be the case with a faint tint. White 
plush is cut in the outlines indicated by 
Diagram A for the dogwood flowers, the 
heavy, light and dotted lines showing the 
three sizes employed. Olive plush is used 
for the leaves, which are shaped by Diagram 
B, in which also the outer line follows the 
largest size, the next the medium one, and the 
dotted line the smallest, so that each size 
may be exactly obtained. Care must be 
taken in cutting them, and a very sharp pair 
of scissors will be found of use. 

Application Stitch for Decoration on Mirror. 

Figures Nos. 2 and 3. — The method of 
applying the decoration on the mirror-frame 
is here shown. Several strands of yellow 
silk, which one increases or lessens according 
to the thickness deemed desirable, are ar- 
ranged about the margins of the flowers and 
leaves, and held down by a crossing stitch 
made in the manner illustrated. Figure No. 
2 shows the way the needle is inserted, and 
Figure No. 3 where it is carried through ; the 



[66 



NSeBLG ilND BH'^S^- 



latter point being directly under the point itself. The present illustration depicts a mat 

where the needle is to be next inserted. Great of rich sapphire-blue velvet, with graceful 

care should be taken that these stitches be vines of American ivy showing their gorgeous 

made at regular intervals and to extend across Autumn colorings, embroidered in opposite 

without the least slant. corners. The exact sizes of the vines are 




Figure No. i. — Decorative Frame fur a Mirror. 



Decorated Mat for a Picture-Frame. given at Figures Nos. 5 and 6. They may be 

FiGURK No. 4.— Mats of velvet or plush, done in outline stitch, satin stitch or the 

prettily embroidered or painted, are much South-Kensington stitch ; and may show the 

liked in both square and oval picture-frames, delicate greens of early Spring, the deeper 

and tlie color must be decided by the picture greens of midsummer or the brilliant reds 



NeeDLG AND gH^S^- 



167 



and yellows of Autumn, as preferred. Any 
other design may be selected instead of the 



American Ivy in Outline Stitch. 

Figures Nos. 5 and 6. — These engravings 




Figure No. 2. — Ai'plication Stitch for Decoration on Mirror. 




Figure No. 3. — Application bTircH for Decoration on Mirror. 





Diagrams A and B.— Outlines of Dogwood Flowers and Leaves Decorating Mirror 

shown at Figure No. i. 



ivy vines, with good effect. The foliage of the show two pretty vine designs in American ivy 
Virginia Creeper is effective for the purpose. done in outline stitch. The designs may also 



i68 



NeeDLG ANL) B^^SH. 




FiGURK No. 5. — American Ivy in Outline Stitch. 



NSeDLG AND 5i^a$H. 



169 



be heavily euibroidered in South-Kensington designs are used in decorating the picture 




Figure No. 6. 
Figure No. 6.— American Ivy in Outline Stitch. 



stitch, and may be used to embellish any mat illustrated at Figure No. 4. They may 
article of fancy work preferred. Both these be worked in any preferred colors. 






lyo 



NeeDLS AND SI^Q$H. 





r-lf^i^^ 


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II II II 11 II ill II II III 


II II II II II II II II II II II II II II II II 


II II II II II II II II II II 






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Paii]tii|g oii Terra-Cotta. 



Terra-cotta forms a good background for 
either oil or water-color painting, and some 
very attractive and unique effects are pro- 
duced upon it by the aid of the brush. Oil 
colors are more generally preferred for such 
work, but water colors are quite as well 
adapted to the purpose, if properly applied. 
Oil colors are best prepared by mixing them 
rather thick, and giving them plenty of body 
by combining with them flake-white or some 
similar color, and using only a little turpen- 
tine. In order that they may work freely 
without spreading, the deficiency in the quan- 
tity of turpentine used may be made up by 
adding Roberson's medium in such propor- 
tion as is needed to reduce them to the de- 
sired consistency. The first coat should be 
laid on rather thick and should be given 
ample time for drying before the final touches 
are added. In putting in the high lights and 
surface tints, the colors may be reduced with 
the aid of a little turpentine and some of the 
medium, but the addition of flake-white, or 
whatever corresponding body-color was used 
with the first coat, is not necessary at this 
stage of the work. After the second coat, or 
final touches of color, have become dry, the 
surface may be treated with a light coat of 
copal varnish, the best quality being, of 
course, the most desirable. 



If water colors are used a preliminary wash 
of white size applied to the terra-cotta ren- 
ders it receptive. Chinese-white is the best 
body-color for using with water colors, and 
the process of applying these colors is the 
same as described for oils. When the paint- 
ing has become dry the surface may be lightly 
washed with very thin gum-water. After this 
has also dried, a coat of copal varnish is ap- 
plied. In proceeding from one stage of the 
work to another, the chief caution to be ob- 
served is that of allowing time for drying. 
Experience will enable the artist to take ad- 
vantage of many points, but the novice will 
do well to "make haste slowly." Sable 
brushes are best adapted to this class of 
work. The pencilled outlines should be made 
lightly ; if an unskilled liand lays them on 
too heavily they may be erased with India 
rubber. Spirits of turpentine will remove in- 
advertent brush-marks. Quaint little figures, 
peering over balconies or resting against a 
mono-tinted background, may be rendered 
especially effective by having their back- 
grounds ornamented in colors, and such 
pieces are attractive and salable articles for 
donating to fairs and bazaars. They may be 
purchased for trifling sums in their undeco- 
rated state, and are usually quite artistic in 
desisfn and execution. 




NeeDLG AND 5I^Q$H. 



171 






yO'OO'cxO^ ^^ 






CHAPTER XXI. 



FARGY BASKET^S. 




.HE means for beautify- 
ing all sorts of recep- 
tacles which a lady is 
apt to employ for her per- 
sonal belongings are so 
numerous and so inexpen- 
sive that there is really no excuse for any- 
thing that is not pretty and attractive. In 
this chapter a variety of pretty baskets rang- 
ing in their uses from those intended for hold- 
ing sewing implements to those which receive 
bonbons, are represented. 

Fancy Work-Basket. 

Figure No. i. — This basket, the fellow to 
which may be procured in any shop where 
such goods are sold, is made beautiful by 
being gilded. An embroidered strip of 
coquelicot ribbon is then placed across it in 
the manner illustrated, the edges being hid- 
den under a gold cord. A gold cord outlines 
each side of the opening, and two prettily- 
tied ribbon bows suggest that it is under lock 
and key, when in reality they constitute 
handles by which it may be opened. Much 
taste may be displayed in the decoration of 
such a basket, which will always prove an 
acceptable present. 



Design for Embroidery on Ribbon Decorating 
Work-Basket. 

Figure No. 2. — This is an illustration of 
the " ragged robins "' embroidered on the 
ribbon used for decorating the work-basket. 
The design is not difficult of execution either 
in embroidery or painting ; but if the worker 
can neither paint nor embroider, then a fine 
decalcomanie may be carefully applied. 



Fancy Basket. 

FIGURE No. 3. — Three cornucopias of 
willow artistically grouped on a willow stand 
form this handsome basket or bonbonniere. 
They are lined with silk — each with a differ- 
ent shade — the lining being shirred and 
arranged to form a puff about the top. A 
band of velvet ribbon, decorated with fancy 
stitches, passes about each below the puff. 
A large pompon depends from the points at 
the top of the stand, and a large bow of wide 
ribbon is placed at the center of the stand. 
Any three preferred colors may be used for 
lining, and the bow and pompons may match 
either color. Sometimes three small pom- 
pons combining the three colors will be 
fastened to each point, with pretty effect. 



172 



NSeDLS AND 5Htl$H. 



Scrap-Basket. Scrap-Basket. 

Figure No. 4. — This pretty basket for Figure No. 5. — This engraving illustrates 
scraps is in vase-shape and is covered with a pretty style of decoration for a four-sided 
plush that is shirred near the top and finished scrap-basket made of willow or rattan. For 
to form a frill heading. Inside this frill is the center of each side is cut a diamond- 
arranged a similar frill, which entirely covers shaped section of velvet, plush or cloth, and 




Figure No. i. — Fancy Work-Basket. 



the neck. A piece of wide brocaded ril^bon 
applied with invisible stitches is arranged as 
illustrated. Plain ribbon may be purchased 
and decorated with hand embroidery or paint- 
ing, if desired. The plush may be of any pre- 
ferred color, or any other material may be 
used instead of plush, figured goods requiring 
no decoration. 



these sections are decorated with Kursheedt's 
Standard silk-embroidered applique's. These 
appliqud ornaments mav be alike or may all 
be different, as most pleasing to the taste. 
In the corners of each side are arranged 
three-cornered pieces of the same fabric as 
that used for the diamond sections, the corner 
sections being so planned that a uniform 



NeeDLG AND BK^SH. 



173 



space is left all round the diamond portion to portions are apparently held together by a 




Figure No. 2.— Design for Embroidery on Ribbon Decorating Work-Basket. 







ILm. mj^ 




Figure No. 3.— Fancy Basket. 
expose the basket. The corner and diamond scroll design in silk cord of a contrasting 



174 



NSeDLG AND BHtiSH. 



color. The basket is lined with silk, Silesia, 
Surah, cambric, satin or any fabric preferred. 
The lining is turned in deeply at the top and 
shirred to form a ruffle about the top of the 
basket, the lining showing prettily through 
the basket-work left exposed. Cord edges 
the top and bottom of the basket and is ar- 
ranged in a cluster of loops at all the corners, 
except one at the top, where a full bow of 



covered in this instance with crimson velvet 
and decorated with some fancy stitches in gold 
thread. The full frill that is jDlaced around 
the top of each and drawn together is of rose- 
colored satin, while the ribbons match the 
crimson. The latter are drawn through 
casings made near the top, and then the three 
pretty "horns of plenty" are held together by 
bows of ribbon — truly silken bands. Pink and 




Figure No 4. — Scrap-Basket. 



Figure No. 5. — Scrap-Basket. 



ribbon is fastened. Any combination of 
colors may be selected, the lining and outside 
usually contrasting, although they may be 
alike when two materials are emploved. 

Fancy Baskets, and Diagram for Shaping the 
Foundations. 

Figures Nos. 6 and 7. — For this triplet of 

baskets or bonbon-holders, as one chooses to 

make them, there is a pasteboard foundation 



blue, blue and _\ello\v, yellow and white, or 
any other combination of colors liked may be 
developed in similar bonbotiniet-cs. 

Half of the pasteboard foundation for each 
little basket or honhonniere is shown at P'igure 
No. 7. It should be carefully cut with a 
knife from pasteboard that, while pliable 
enough to bend, is yet sufficiently strong to 
be in realitv a foundation. 



nggDlg and bhc^S^" 



175 



Fancy Work-Basket. the same purpose come in willow or rattan. 

Figure No. 8.— This basket is one of the The florists' basket is the most delicate in ap- 




FiGURE No. 8.-FANCY Work-Basket. Figure No. 9.-Work-Basket. 

kinds used by florists, although baskets for pearance, however, and trims up very prettily. It 



176 



NeeDLe and bho-Sh. 



is lined with satin slightly fulled in, and 
has a row of fringe about the top. A band of 
ribbon embroidered in Marguerites is about 
the bottom, and the handle is ribbon-trimmed. 
Work-Basket. 
Figure No. 9. — Somebody's archery box 
has been rifled for the three arrows which 
form the stand for this unique-looking basket. 
The arrows are arranged with their heads 



types. Such a basket is as ornamental as it 
is useful. 

Decorated Waste-Basket. 
Figure No. id. — A new way of decorating 
a waste-basket, and one that has many ad- 
mirers, is here shown. The basket is in the 
barrel shape, made of rattan, and has run in 
and out near the top a broad olive ribbon. 
A bow of the same ribbon is arranged just in 




Figure No. 10. — Decorated Waste-Basket. 



Figure No. h. — Work-Basket. 



down and are tied together with ribbon a 
little above the heads. The rush-basket is 
three-sided and is ornamented with an inter- 
lacing of ribbon about its top. Its corners 
are attached firmly to the arrows below their 
feathered ends, and over the points of attach- 
ment ribbons are gracefully knotted. The 
basket portion may be replaced by a cro- 
chetted bag of macrame cord, and the stand- 
ard may be formed of the metal cat-tails 
which so cleverly simulate their natural proto- 



front with full effect, and in the center are 
placed peaches and clusters of grapes, with 
their foliage. They form a bright bit of color 
and are realistic enough to deceive many a 
looker-on. This is at once an effective and 
easy way to trim a basket, and one that cer- 
tainly has novelty to recommend it. 

Work-Basket. 

Figure No. ii, — The fancy basket shown 
at this figure is usually supposed to hold the 



NeeDLG AND 5H^$K- 



177 



thimble and scissors that my lady finds so a double casing is made for them so that they 

necessary in her needle-work. A small tarn- draw easily. The casing is far enough from 

bourine such as are sold for decorating pur- the top to form a pretty frill, which is all the 

poses is first gotten, and to it is securely finish needed. A lining of chamois would 




f^^^m^mi^^^ 



Figure No. 12. — Fancv Work-Basket. 




Figure No. i 



■Scrap-Basket. 



fastened a full bag of bronze satin. The strips add to the durability and be friendly to the 

should be joined together upon being glued steel belongings. A very rich-looking bag 

to the tambourine, and it will be wise to sew would be one with orange, green or gold-bronze 

as well as glue it to position. At the top the satin for the bag part, and strings of heavy 

draw-strings are of narrow bronze ribbon, and silk cord. 



78 



NeeDi^G AND BH^SK. 



Fancy Work-Basket. fancy or plain and of any preferred variety, 

Figure No. 12. A simple straw basket is and may be like or unlike the satin in color. 

the foundation for this pretty receptacle for my 

,. -,M 1 ., 1 Scrap-Basket. 

lady's sewmg paraphernalia. Ihe bottom has ^ 

a sheet of wadding laid over it, and then the Figure No. 13.— The engraving illustrates 

bri-^dit cherry-colored satin is applied. The the popular "beaver," duplicated in straw 

lining of the side is done in the usual way, a braid and lined with gay satin, to do duty as a 




Figure No. 14. — Fancy Wukk or Scrap Basket. 



narrow frill of it coming up over the top, with 
pretty effect. The handle is of sal in ribbon, 
which is run across through the straw handles 
from one side to the other, and then, meeting 
again in the center, is tied in loops and ends. 
Unusual strength is given by having the ril)- 
bon doubled in this way. The ribbon may be 



scrap-basket. Whether the intended purpose 
of the article can be considered a reflec- 
tion upon the customary contents of an ordi- 
nary beaver or not, we do not presume to say, 
but merely add it to the list of pretty fancy 
articles, without any argument as to the right 
of appropriation. The ribbon band consists 



nggBlg and bh^$h. 



179 



o[ two strips woven in to correspond with the leaves and a bunch of bright berries. The 
rest of the construction, while the jaunty bow hat may be purchased untrimmed or fully 




Figure No. 15. — Fancy Scrap-Basket. 




Figure No. 16. — Fancy Basket. 



with tasselled ends confines under its knot a decorated, but most ladies prefer to finish up 
cluster of dried grasses, beautifully colored the article themselves, to match the color of 



NeeDLG iiNB 5i^a$H. 



the rooms they occupy. Cardinal, scarlet, 
cherry and pale-blue are the colors most used. 
Silk or Silesia may be used instead of satin, 
and the ribbon may be satin orgrosgrain. 

Fancy Work or Scrap-Basket. 

Figure No. 14. — The shape of this basket 
is simple and may be obtained in inexpensive 
wicker at any shop where such articles are 
sold. The ribbon, which is run into its up- 
right portion, may be in one or two shades, 
and the bag portion may match the deepest 
or darkest tint. The top is turned in and se- 
cured to form a finish, and is drawn in as 
illustrated by means of a ribbon run through 
slashes made a little below the top. Such a 
basket may be made quite a practical and 
beautifying article of furniture in a room. 

Fancy Scrap-Basket. 

Figure No. 15. — This basket is high and 
oblong in shape and may be of any preferred 
size. To its top on the inside is gathered a 
section of Surah that is drawn in to make a 
frill by ribbons run in a casing formed at the 
bottom of the frill. A large bow of wide rib- 
bon matching the pale golden hue of the silk 
is fastened on the silk at one corner, and 
about the bottom of the basket is arranged a 
wide purple ribbon that is tied in a large bow 
in front. Two rows of pansies showing 
the purple and golden hues wreathe the basket 
near the top, producing a beautiful and elab- 
orate effect. Such baskets are highly deco- 
rative, and other colors and flowers may 
be similarly arranged, although the pansies 



and the pansy shades in the ribbon and silk 
are particularly pretty. Artemisias, daisies, 
chrysanthemums, lilies-of-the-valley and other 
small flowers are effective arranged in this 
way. The basket may be gilded or tinted, as 
desired. Small baskets decorated as de- 
scribed make pretty hair-receivers, and larger 
sizes will be useful for scraps, soiled handker- 
chiefs, etc. 

Fancy Basket. 

Figure No. 16. — A basket of this style 
may be used as a receptacle for bonbons, or 
it may serve as a catch-all for patch-work, etc. 
It is of oblong shape in pale-pink wicker. 
About the top, arranged to hang upon the 
outside, are strips of pink and olive ribbon in 
varying lengths, the end of each strip being 
tipped with a hammered silver crescent. To 
the top of the inside is sewed the bag, which 
is formed of upright strips of ribbon of dif- 
ferent colors joined together. The bag is 
turned under deeply at the tojD and sewed to 
form a casing a little below. In the casing 
are run ribbons which draw the bag in and 
form the top into a frill. A large bow of 
olive ribbon is applied to each side of the 
handle, and crescents are tacked upon the 
longer end of each bow. The top of the 
handle is wound about with ribbon, and a 
tiny bow marks its termination. Many color 
combinations, such .as purple and yellow, 
black and maize, orange and white, and pink 
and blue, may be effected in such a basket, 
and the ribbon may be hand painted or 
embroidered. 



;t!2Dc' X X X X X X X X X xX3^ 
XXXXXiS'iftSS: 



NSeBLS AND BRdSH. 




CHAPTER XXII. 



PRAOT(LAL PAPER-PGGKET^S. 




RACTICAL receptacles for maga- 
zines and papers are appreciated 

by everybody, and tliey are espe- 

■^J^J^ cially valuable in families where 
several members depend on the 
same reading matter and learn to look 
for it in the same places. Even for let- 
ters and for family accovnit-books there 



lowing pages contain illustrations and descrip- 
tions of practical paper-pockets that are 
attractive as well, and not too frail to answer 
the purpose they were designed to serve. 
They are not beyond the ability of any one 
who can handle the scissors and drive a tack, 
and they may be developed with the slightest 
possible outlay. 




P^iGURE No. I. — Paper-Pocket. 

should be a place, else they are mislaid or Paper-Pocket. 

allowed to cumber and litter tables and Figure No. i.— This pretty paper-pocket 

shelves devoted to other purposes. The fol- is made of matting bound at the edges with 



nggBlg and b^^S^- 



ribbon and rolled at the bottom to form a with pale-blue satin. Upon the front is a 
cylindrical pocket, in and out of which papers half-wreath cluster of roses — one of Kur- 
niay be slipped. The decoration consists of sheedt's Standard satin applique embroidery 
applique sprays of vine blossoms and a large pieces — which is put on with perfect smooth- 
bow of ribbon at one corner. A ring fastened ness. Heavy crimson silk cords are fastened 
to each upper corner provides the means for from corner to corner; while the pocket is 




Figure No. 



-Papkk-Receiver. 



suspending the pocket, the rings being passed suspended by crimson satin ribbons which, 

over nails secured in the wall. starting from different points, all meet at the 

center and form many loops. For a room 

Paper-Receiver. finished in pale-blue or crimson this pocket 

FiGURK No. 2. — A pretty pocket for holding will be very effective. In arranging the 

papers is here shown. It is made by cover- pocket the colors used for the decoration 

ing two three-cornered pieces of cardboard should be in perfect harmony. 



NeeDLG AND SH^SH. 



183 



Receptacle for Letters, Papers, Etc. board attached at the lower edges to the back 

Figure No. 3.-This pretty receptacle for and at the ends to narrow gore-shaped pieces 

papers, letters, etc, is made of cardboard cov- which also join the sides of the back. All 




Figure No. 3.— Receptacle for Letters. Papers, Etc 




Figure No. 4.— Embroidery Design. 

ered with heavy silk. The back is cut from the parts are smoothly covered with the silk 
cardboard of the length and width desired, before attachment, the pocket sections being 
and the three pockets are oblongs of card- also richly embroidered in some pretty de- 



i84 



NeeDLs AND gi^QSH. 



sions. A row of velvet, ribbon borders the bow. The designs decorating the receptacle 
upper edges of the back and covers the join- in this instance are pictured at Figures Nos. 4, 
ino- of the gores to the pockets. A large bow 5, and 6. They may be done in South- Ken- 




FiGURE No. 5. — Emmruidery Design in Cat-Tails and Grasses. 




Figure No. 6. — E.m}?roidery Design in Corn-F'i.owkrs. 



of pretty ribbon is fastened over the top of sington stitch, or South-Kensington outline 
the back, and a loop for suspending the stitch, or they may be painted, as preferred, 
receptacle is fastened to the back behind the The design on the upper pocket is worked on 



NeeDLG AND gF^tl$H. 



185 



ribbon that is arranged diagonally across the to be used as decoration. The corn-flower 
pocket. Velvet, plush, canvas, chamois, kid, design illustrated at Figure No. 6 may be done 
cre'tonne or any preferred material may be in natural tints and so may the designs in cat- 
used for such articles. tails and grasses shown at Figure No. 5. 
Designs in Embroidery. Wall-Pocket. 
Figures Nos. 4, 5, and 6.— All these de- Figure No. 7.— This pocket is made of a 




P'iGURE No. 7. — Wall-Pocket. 



signs are employed in decorating the recepta- 
cle for papers, etc., illustrated at Figure No. 3. 
They may be worked in outline or solid 
South-Kensington stitches, or they may be 
hand-painted, as preferred. They are equally 
handsome for lambrequins, chair or table 
scarfs, etc. The design pictured at Figure No. 
4 is effective on plain satin or other ribbons 



fan-shaped piece of heavy pasteboard covered 
with a material that in color and design looks 
like plaited straw. Another piece the proper 
size is laid over in folds to allow for bultrinof 
out and is then basted to the lower half of the 
fan, after which the edges are bound with 
dark crimson velvet. The upper part of the 
pocket portion is finished in the same way. 



NeeDLG AND BH^S^- 



At each side regular perforations are made, 
and crimson satin ribbon is laced through 
them and tied in a bow, having many loops 
and ends. A loop of ribbon at the handle 
forms the means whereby the pocket is sus- 
pended from the wall, and a large bow of 
wide ribbon is just at the base of the handle 
portion. A large fan may, of course, be used 



and then fastened to position. The sides are 
plainly covered with dark crimson velvet and 
have no additional decoration. The front 
has appliqueed upon it a rose in light pink, 
with some foliage and wild flowers in natural 
shades, A quilling of rose-colored satin rib- 
bon outlines the front panel. In the upper 
part is set a velvet strip, and applied to it are 




iiilHilifife::^;^^ 



Figure No. S. — Wall-Docket. 



for the foundation. Green, blue, bronze or three letters, that, like the flower cluster, are 

orange ribbon may be used instead of crim- applique initials. 'I'he ribbons by which the 

son, but the latter is admired because it har- pocket is suspended are of rose-hued satin, 

monizes with nearly all furnishings. and starting from each side they meet at the 

Wall-Pocket. top in a pretty bow with ends clipped in Van- 

FiGURE No. 8.— The foundation of this wall- dyke fashion. It would be advisable to have 

pocket is black walnut, and the ornamental hidden under this strong wires to do the duty 

portions are mounted on stiff cardboard that the ribbons are supposed to perform. 



nggBlg and b^^S^- 



187 



Paper-Pocket. different shade or color. When contrasting 

Figure No. 9. — An ordinary wire toaster colors are chosen care should be taken to pro- 

or broiler is used for the foundation of this cure a pleasing harmony, 
pocket. The toaster is painted with gold 

liquid paint, and wide ribbon in two shades Wall-Pocket. 

arranged to alternate is run in and out Figure No. 10. — The engraving represents 

through the wires, each stiip of ribbon being a wall-pocket intended for the reception of 



^ ^-^^ 





FUIURE No. 9. — pAPER-ruCKET. 



Figure No. 10. — Wall-Pocket. 



in one continuous piece all round, thus bank- 
ing the sides ; the ends are neatly joined at 
the back. A ribbon bow is fastened to the 
top at the sides, and ribbon is also tied in a 
bow near the top of the longest handle by 
which the pocket is suspended. The ribbon 
may be in two shades of one color or in two 
contrasting colors, or each row may be of a 



letters and papers that are not immediately 
destroyed upon reading. The foundation is 
of splint work that may be purchased at any 
fancy store in the metropolis or any large city 
or town, and the sides are connected by a 
V-shaped piece of satin. All the edges are 
bordered with a quilling of satin ribbon, and 
each corner is completed by a bow of satin 



i88 



NGGDLe ilND BH^S^- 



ribbon. The pocket is supported by ties of manner or hand-painted in water or oil colors, 

ribbon forming a bow where they are hung or a scrap-picture pasted on at the center, 

over a hoolc or nail. A beautiful design in with or without small ones at the corners. If 

green and pale purple, known as the Scotch the splint work cannot be obtained, perforated 

thistle, is embroidered upon the center of the cardboard, canvas, silk or satin may be used 

outside portion ; but this may be omitted in in making the portions, and embroidered in 

favor of any other design done in the same any manner pleasing to the taste. 



Easter Eggs. 



How to prepare them and how to arrange 
them when they come into one's possession as 
souvenirs are questions often asked. Wash 
and wipe them and make a small opening in 
each end of the shell and set the egg upon 
its larger end to permit the contents to run 
out. Then go over the shells carefully with 
all shades of gold, silver, bronze, and other me- 
tallic powders at hand. The metallic powder 
should be applied with a brush and moistened 
with the medium which is sold with it, and it 
need scarcely be added that careful handling 
is essential. Still, if the shells are painted 
before they become' very brittle, few, if any of 
them, will break. Run narrow ribbons 



through them and hang up twenty or thirty of 
them showing all the lustre tints and bright 
hues in a bunch, graduating the lengths of the 
ribbon so that the collection will be quite 
solid. Hung wherever they will receive a 
good light the effect is very pretty. In using 
the metallic powders with the medium rapid 
work is necessary, as the powder dries rapidly 
and the medium evaporates so quickly that 
after a few delays the worker may find only 
a little solidified sediment. Thin white glue 
may be used instead of oil as a vehicle for the 
paints, and is preferred by many ladies for 
such work. It should be very thin and translu- 
cent, in order not to darken the colors. 






NeeDLS ANJD BH^S^« 



189 






^if^ii^^ic%^iv%j\\ : 



^^^^m^% 



CHAPTER XXIII. 




AR^TIGLES F0R T'HE T-QILEW^E MBLE. 

OME of the pretty and essential hangs a pocket for them, and to the usefulness 
articles which one likes to find of the tooth-brush and flat comb-case when 



on or near the toilette table are 
grouped in this chapter, together 
with some that it is often necessary 
to have handy cases for, in the event of being 



travelling, every one will testify. 



Hair-Pin Receiver. 

Figure No. i. — The foundation of this 




Figure No. 



-Haik-Pin Receiver. 



obliged to pack them in small compass. 
Hair receivers, large and small, have their 
place in the affections of the woman who 
wisely saves her combings against the time 
when she may need them, and the useful 
combing towel is no less appreciated. Scarce 
any boy will forget to return his brush and 
comb to their proper place, if within his sight 



pretty receiver for hair-pins may be a box of 
tin or pasteboard, or a small basket filled with 
curled hair, moss, excelsior, or other filling, 
and having a top of knitted wool in loop pat- 
tern. It is covered with silk drawn over it, 
and shirred in to fit below a deep fringe 
formed by ravelling the edges. The fringe 
rises high above the knitted top, and below 



igo 



NeeDLG ANlD 5H^$H. 



the shirrings the threads are run in and out 
with long slitches of wool or floss; the stitches 
are lerniinaled under a bow of the same, hav- 
ing tassel-tipped ends. The lettering is done 
with waler colors, and at the lower corners of 
the receiver are placed upright rows of four 
imitation coins. The coloring depends en- 
tirely upon the taste of the maker, and instead 
of the coins, libbon bows or fancy buttons 
mav be used. 



they be of metal or shell. The word decora- 
tion is done in outline stitch with copper- 
colored metal thread, and a bow of blue rib- 
bon decorates the shoe near the end at which 
it is suspended. Other colors may be as 
effectively used, and the bronzing may be 
done in any preferred color. 

Hair-Pin Receiver. 

Figure No. 3. — In the construction of this 






Figure No. 2. — II air-Pin Receiver. 



Figure No. 3. — Hair-Pin Receiver. 



Hair-Pin Receiver. 

Figure No. 2. — A diminutive snow-shoe 
forms the foundation for this useful ornament 
to the toil.et-tabie or bureau. It is bronzed in 
copper, and the pocket is made of pale-blue 
silk, shirred to form a frilled edge at the top 
and bottom. The pocket is loosely filled with 
hair, and a crochetted cover of jialc-blue wool 
closes it on top, but should not be visible. 
The hair-pins pass easily into the top whether 



pretty receiver si.x: strips of wide ribbon are 
joined together and drawn in closely at the 
bottom to complete the bag, which is loosely 
filled nearly to the top with hair. At the top 
the ribbons are ravelled to form a fringe, be- 
low which the bag is slightly drawn in with a 
double cord run through slashes, and tied in 
loops and ends at one side, the ends being 
lipi^ed will) tasseU. A knitted or crochetted 
piece is fastened inside the bag along the 



NeeDLG AND 5Ha.$H. 



191 



cord, affording a cover for the filling and a Tooth-Brush Case. 

cushion for the hair-pins. The center piece Figures Nos. 4 and 5. — Kid, silk, satin, 
of ribbon in front is pale gold, on which is velvet, canvas, etc., may be used for the out- 
embroidered in natural tints a, pansy spray, side of this case, with oil-silk, linen or cash- 




FiGURKS Nos. 4 AND 5. — Tootii-Brush Case. 




Figures Nos. 6 and 7. — Comb-Case. 



and the center piece at the back is the same mere for the lining. Figure No. 4 shows the 

shade, while those at the sides are pale helio- back of the case when shut, while Figure 

trope. Other shades may be combined, and No. 5 shows the other side and the end-open- 

the floral decoration may be embroidered or ing. The embroidery is done with gay wors- 

hand-painted, as preferred. teds, and that shown by Figure No. 5 secures 



NeeDLG AND 5I^tl$H. 



the edges of the case. A buUon and loop The one pictured is of dark-red velvet. The 

fasten the end. . back piece is large and of pretty outline ; it is 

Comb-Case. faced with Silesia, and its edges are defined 

Figures Nos. 6 and 7. — This case is and ornamented with gold braid, which at the 

made of heavy silk, and is hand-painted in lowest point is arranged in a cluster of loops, 

natural tints in floral designs. If preferred, Two pretty ribbon bows of the same color as 

the design may be embroidered in shaded the velvet are at the top, and form loops by 





Figure No. 8. — BRUsii-ANn-CoMH Pocket. 



Figure No. 9. — Hair-Receiver. 



tints ; but painting is now much favored for 
fancy work. The foundation is cardboard, the 
binding, which holds the two sides together 
being ribbon. 

Brush-and-Comb Pocket. 

Figure No. 8. — Wall-pockets are no longer 
disdained — instead, their use has become so 
generally recognized that their being made 
beautiful to look upon becomes a necessity. 



which to hang the pocket. The pocket 
proper is much smaller than its background, 
and is richly embroidered in gold thread, and 
defined with gold cord. Young ladies who 
wonder what present they can give a gentle- 
man, have in this pocket a pretty solution of 
the puzzle. 

Hair-Receiver. 

Figure No. 9. — This useful receptacle has 



weeDLG AND si^QS^- 



193 



for its foundation a slipper of willow, bronzed. 
The bag is of maroon Surah, and the bows of 
maroon satin ribbon ; the bag being shirred to 
form a narrow, ruffled finish, and a deep 
fringe at the top. On the top of the slipper is 
applied a pretty floral design that was selected 
from Kursheedt's floral appliques, which may- 



son silk, turned in deeply at the top, and 
shirred several times across to form a frilled 
heading of pretty depth. The fulness is col- 
lected in gathers at the point, and the edges 
are sewed to the foundation with invisible 
stitches. Ribbon, the shade of the silk, is 
tied high up on the snow-shoe as illustrated. 





Figure No. 10. — Hair-Receiver 



Figure No. ii.— Hair-Receiver. 



be procured in a great variety of styles. Any 
preferred colors may be selected for the bag 
and bows, and a bow, instead of the applique 
pictured, may be used to decorate the toe. 

Hair-Receiver, 

Figure No. 10. — A snow-shoe of suitable 
size forms the foundation or back of this orna- 
mental hair-receiver. The pocket is of crim- 



The silk may be of any desired shade, or 
satin. Surah, or any preferred material, may be 
used instead. 

Hair-Receiver, 

Figure No. ii. — This pretty receiver is 
easy to make, the foundation being a Japan- 
ese fan covered on one side with soft silk. 
The pocket is made of a piece of silk, and is 



194 



NSeDLG ANli) 5H^S^« 



turned under at the top, shirred to form a frill ming may be as pictured^ or varied to please 

heading, and also gathered at its other edges. the fancy. 

The shape, of course, corresponds with the 

fan, and a thick cord covers the seam joining Combing Towel. 

the parts, and is also continued about the Figure No. 12. — This towel is shaped by 

fan above the pocket. A celluloid "back" pattern No. 2316, which costs 5d. or 10 cents. 

comb is fastened across the pocket just below It is made of a damask towel, and is shaped 





Figure No. 12.— Combing Towel. Fj'^ure No. 13.— Outline Design for Combing Towel. 



the frill heading, and a full bow of ribbon is 
fastened at each end. A bow of similar rib- 
bon is tacked to the bottom of the receiver, 
which is suspended by a ribbon tied in a bow 
about the handle. Any variety of silk, satin. 
Surah, sateen, cretonne, figured brill iantine, 
plush, velvet, etc., may be chosen, and the trim- 



to fit smoothly over the shoulders and about 
the neck. The front is ornamented in outline 
stitch with the designs shown at Figures Nos. 
13 and 14. Any variety of towel or towelling 
may be made up in this way, or pique, linen, 
Marseilles, print, or any preferred material 
may be chosen. When towels are not used, 



NeeDLG anB g^tis^- 



195 



the lower edges may be finished with hems, here iUustrated are appropriate for the article 
ruffles, rows of wash braids, button-holed scol- they are to decorate, and are shown in the 
lops, or in any other way preferred. proper sizes ; they may be done in outline 




Figure No. 14. — Outline Design for Combing Towel. 

Outline Design for Combing Towel. stitch with crewels or wash embroidery silks, 

Figures Nos. 13 and 14. — The designs in any colors desired. 




196 



NeeDLS AND BH^S^' 



XX'KKXXXKX^^,^ 









Lilies, Straiglit ai^d Curved. 



How many who attempt to do decorative 
work of any kind pay proper attention to pro- 
ducing accurate and corresponding effects 
where they are requisite to perfection of 
detail or even to general effect? 

Did you, aspiring and industrious designer 
of the pretty subjects for the decoration of 
your ice-cream set ? We fear not, for if you 
had drawn your circles with the aid of a com- 
pass they would have been perfect, instead of 
showing as they do now a slight irregularity, 
which is rendered all the more noticeable 
because of the general excellence of the work. 
And did you, to whom belongs the credit of 
the really exquisite "needle-painting" in 
crewels, representing a clump of hollyhocks, 
intend to have the stalks lean to one side ? 
Did you ever see them growing that way? 
If so it must have been because tliey were 
deprived of the sunlight in their natural pose 
and were bending toward it — a reason which 
does not hold good in your case. Ah ! the 
inclination is due to the fact that you did not 
outline }-our design, but trusted to your eye. 
That you have rare discernment for color 



effects is evident, but that you must train 
your vision, or else work by a tracing or out- 
line if you wish to delineate perpendicular 
lines, is also true. 

And here is a piece of embroidery done by 
a beginner who had an excellent stamped 
design for a guide. We must commend her 
exquisite shading, but what a pity her outlines 
were not carefully followed. In one place a 
stitch is begun inside the tracing, leaving ex- 
posed the white substance used in stamping 
the design, and just next to it is one which 
extends as far beyond the stamping. The 
subject is a branch of autumn leaves, and the 
fine outlines are sadly marred by this irregu- 
lar method of working. To you must be re- 
peated the caution to cover, but not to work 
beyond, the stamping. To all who essay dec- 
orative work of any kind may be given the 
advice to be sure that their right lines are 
correct, their circles perfect ones and their 
curves not merely deflections from straight 
lines, but in artistic harmony with the spirit 
and subject of their design. Such details, pro- 
saic though they be, are essential to perfection. 



H'.'X 






NeeDLG ilND gI^ti$H. 



197 







CHAPTER XXIV. 



PINGDSHIQMS 




ir-x™// F the makinir of many cushions 
^'^^jff there is no end, one might say in 



Roll Pincushion. 

Figure No. i. — The cover of this novel 

VI1W looking at the array which makes cushion is of silk and is drawn in closely sev- 

up the handsome collection shown eral inches from the ends, which are turned 

in the following pages. Each one possesses over on the cushion and caught down prettily 

special attractions, and all are so pretty that it over a frill of deep lace. A full bow of wide 

is only by keeping in mind the special pur- ribbon is tacked over each gathered end, and 




f'iGURE No. I. — Roll Pincushion. 



pose to be served a selection can be easily 
made. There are shapes suitable for hanging 
upon the gasolier, others for placing on the 
dressing case and many others which bespeak 
their adaptability to the work-basket or bag. 
Among them are those which will please all 
tastes. 



similar ribbons cross it diagonally from be- 
neath the lace and are tied in a large bow at 
the center. Any color or combination of 
colors may be selected for a cushion, and 
plush, velvet, satin or Surah, either plain or 
brocaded, may be used in the construction of 
the article. 



198 



NGeDLG AND 5i^a$H. 



Plush Pincushion. Satin Pincushion. 

Figure No. 2. — This dainty cushion is of Figure No. 3. — This pretty pincushion 
pale-pink plush and has upon it a branch of differs from the ordinary one by being three- 
apple blossoms done by hand with silks of the cornered, a shape that it is no harder to ob- 
proper shade. The under part of the cushion tain than the other if one exercise a little 
is of pale-pink satin and the edges are fin- care. It will be found best to make the cush- 
ished with a scantily applied ruffle of lace. ion of Silesia, and then stuff it with saw-dust 




Figure No. 2. — Plush Pincushion. 




I 



Figure No. 3. — Satin Pincushiun. 



The effect is very dainty and if the maker 
thinks it a pity to have lavished so much care 
on an article to be devoted to use as a cush- 
ion, it is well to remember that such cushions 
are quite generally accepted as demonstra- 
tions of the poet's theory that " beauty is its 
own excuse for beino;." 



— which is better than bran, for the mice do 
not care for it — before putting on the satin 
case. This is of a deep bronze hue. Three 
full frills of Moresque lace are put on it, 
while a row of narrow insertion and one of 
lace, divided by lines of gold thread, are flatly 
applied along the top of the frills. A bow of 



NeeDLG AND BH^S^- 



199 



ribbon of the color of the satin is at each cloth or scrim, and about the edges is a frill 

corner. If desired, a cluster of flowers might of deep lace, which falls to the edge of the 

be painted in the center, an initial embroid- plaiting and is festooned at two corners under 

ered, or a decalcomanie transferred. rosette-bows of wide ribbon the shade of the 




Figure No. 4.— Pincushion. 




Figure No. 5.— Lace-and-Satin Pincushion. 



Pincushion. silk. A frill of narrow lace turned over its 
Figure No. 4.-This elaborate-looking seam decorates two sides, and the result pro- 
cushion is also triangular in shape and is duced by the entire disposal is artistic and 
made of pale-blue silk with a deep plaiting of pretty. White lace may be used instead of 
silk about its edges. On top is a piece of black, and the plaiting, ribbon, etc., may be 
embroidery done with gold thread on bolting of any desired tint. 



NeeDLS AND SHtiSK* 



Lace-and- Satin Pincushion. frill finishes the cushion, and each corner is 

Figure No. 5.— On a background of pale- decorated with a bow of green satin ribbon. 

green satin that forms the main part of this In filling this cushion, it would be dainty to 

pincushion is placed the little satin painting put in close to the top a layer of sachet pow- 




'Him^%^ 



Figure No. 6.— Fancy Pincushion. 




Figure No. 7.— Box Pincushion. 



—the flower girl rndiant on her rose-colored der, which, concealed in a sheet of cotton, 

world. This is securely sewed, and then a can be separated from the other filling and 

frill of oriental lace outlines it and brings out made to concentrate its odor, and also to dis- 

effectively the green leafage. A fuller lace pense it graciously. 



NeeDLG AND SH^s^- 



Fancy Pincushion. 

Figure No. 6. — Two circular pieces of 
cardboard covered with silk and carefully 
joined together form the foundation of this 
cushion. The piece forming the front is dec- 
orated with cyclamen blooms, which may be 
painted or embroidered. Before this decora- 
tion is applied, however, two strips of narrow 
ribbon are arranged to cross quite near to- 
gether a little below the top, and part of the - 



Box Pincushion. 

Figure No. 7. — The title suggests the 
foundation for this pincushion. It is a 
square box filled with curled hair or whatever 
material is chosen for the purpose, and cov- 
ered with a square of silk on which detached 
blossoms and leaves are painted, worked in 
outline, or solidly, according to the fancy of 
the maker. The fulness at the corners is 
regulated by a few gathers, and after the 




Figure No. S.— CREiscENX Pincushion. 






.Figure No. g. — Crescent Pincushion. 



decoration is done on them. A ribbon loop, 
starting from beneath a spider-bow of ribbon, 
is used to suspend the cushion. The pins are 
stuck in between the edges of the parts to 
produce a fanciful effect. The color of the 
silk covering may be chosen to suit the taste, 
and the ribbons may harmonize or contrast 
with it. The design may be flowers of any 
preferred variety, a small landscape, fruits, 
etc., to please the taste. 



square is firmly attached to the box a square 
of plush equal in size is placed beneath the 
box and its corners are brought over the 
sides and ends and held in position by narrow 
ribbons fastened beneath them and tied in a 
spider-bow at the center of the top. Slightly 
wider ribbon is used for the pretty bows 
which are fastened at the lower corners of the 
box. The effect is unique and pleasing and 
easily obtained, the engraving explaining the 



NeeDLe and 5i^a.$H. 



details of construction more clearly than the suspended by ribbons that are disposed in a 

pen can. The edges of the plush may be handsome bow at the point of suspension, and 

neatly turned under for a finish, or they may pretty bows are fastened where the ribbons 

be bordered with quilled ribbon, fancy cord, are tacked to the ends. Delicate colors are 

etc. Brocaded silk is pretty for the top. best liked for such dainty articles, though 




P'iGURE No. 10. — Embroidery Design for Crescent Pincushion. 



t If 




Figure No. ii.— Pincushion. 



Crescent Pincushion. dark colors may be used with good effect. 
Figure No. 8. — The cushion is made in Any preferred design may be painted or em- 
crescent shape and is of delicate blue silk, broidered on the article, or applique work 
Upon it is embroidered an artistic arrange- may be used as decoration, 
ment of dianthus pinks, and about the lower 

edge is a row of delicate blue plush tassel Crescent Pincushion, 

ornaments and pompons. The cushion is Figure No. 9. — Deep crimson plush is 



NeeDLe and gi^QS"- 



203 



used for this pincushion, its rich coloring and 
deep pile making it especially desirable where 
embroidery is the decoration. An inner 
cushion of the proper shape is made of cam- 
bric and filled with bran, its heaviness serving 
to keep the cushion from swaying to and fro. 
On one side of the plush is embroidered a 
gracefully poised bird worked in various 
shades of olive in South-Kensington outline- 
stitch. The plush covering is then put on, 
the lower edge being finished by a fringe of 
gilt coins dangling from yellow silk cords, 



South-Kensington outline-stitch with shaded 
olive crewels, though any color fancied by the 
worker could be used. In red, brown, or 
dark green crewels or embroidery cotton the 
bird design would be pretty on serviettes, 
towels, pillow-cases or any articles decorated 
in such a way. On linen portieres in dark 
brown, such birds would have an artistic 
effect. 

Pincushion. 
Figure No. ii. — This unique cushion is 
formed of strips of fancy braids joined and 




Figure Nu. 12. — Sachet Pincushion. 



each firmly and separately fastened. The 
upper edge is ornamented with a heavy gilt 
cord, arranged in fancy loops at each corner 
and then drawn to the center and tied in long 
bovys and ends, thus forming a loop by which 
to suspend the cushion. Each end is tipped 
with a large silk pompon. 

Embroidery Design for Crescent Pincushion. 

Figure No. 10. — The simplicity of this 
design, as well as its prettiness, commends it 
to the tyro in embroidery. It is done in the 



cat-stitched along the joining with colored 
silks. The cushion is filled to round out in 
bolster fashion and the braids are fringed at 
the ends, which are tied in closely inside the 
fringe with narrow ribbon. Any kind of 
fancy worsted or tinsel braids in different 
colors may be used for a cushion of this kind, 
or several varieties may be combined, with 
artistic effect. 

Sachet Pincushion. 

Figure No. 12. — Dainty, useful and sweet- 



204 



NeeDLG AND Bi^a$H. 



scented is this ornament for a dressing-case The ribbon has a purl edge and is very 

or toilette-table. The two bags are made of effective. The lower part of each bag is cov- 
one piece of silk, satin or wide ribbon and ered with scrim, which may be hand-painted 




Figure No. 13.— Satin Pincu.shion. 




Figure No. 14. — EMJiRoiDKUEn Bird. 



filled with cotton well sprinkled with perfume or embroidered, the design being different on 

powder, a small space, unfilled, being left at each bag. The top of the scrim covering is 

the center, where a ribbon is tied tightly bordered with a row of gilt soutache braid, 

around in numerous loops and notched ends. The scrim is very decorative, and will also be 



NeeDLG AND BH^SH. 



205 



useful in concealing the pin-pricks in the silk. orately embroidered with bird and branch and 

Any color may be selected in the silk and then made up in the simple shape familiar to 

vibbon and a quilling of ribbon may border all. The edges are outlined with silk cord of 

the top of the scrim covering, if preferred to a darker shade of olive, and from three cor- 

, . , , ^. ners depend full chenille and silk tassels of 

the braid decoration. ^ 




Figure No. 15. — Embroidery Design. 



Satin Pincushion. the same shade. At the other corner a pret- 

FiGURE No i3.-The pale shade of olive tily made bow of satin ribbon is placed, an 

that hints of the Grosvenor Gallery and Du additional loop being made so that it may be 

Maurier's esthetic people is the shade of hung on the wall or the side of the mirror, 

satin chosen for this pincushion. It is elab- suggesting its desirability for a bachelor, who 



2o6 



NSeDLG AND SH^S^- 



usually pushes his pincushion off the dressing- 
table in his search after matches. 

Embroidered Bird. 

Figure No. 14. — The spider and the fly 
story is told in a somewhat different manner 
in this embroidered sketch, which is one of 
the designs on the satin pincushion wrought 
out in satin stitch. The humming-bird is done 
in brown and gold, while the fly is of blue 
and gold. In this instance, silks are used in 
working the design ; but crewels or cotton 
may be chosen for less elaborate pieces. 



Embroidery Design. 

FiGUKE No. 15. — This design is also on the 
satin pincushion, the wild rose and its foliage, 
worked in satin stitch, being of Nature's own 
colors. The rose is a pale pink, and the 
leaves and stem dark green, while the resting 
bird matches his mate in being dark brown 
and gold. This spray might be embroidered 
upon a shawl-case or a head-rest of linen, with 
good effect ; and then crewels of differing 
tints or of one color could be used, according 
to the fancy of the worker or the color of the 
fabric. 



JI Daii^ty Lan^p-Screei], 



For its foundation a Japanese fan of me- 
dium size was procured and this was covered 
with satin upon which a dainty floral design 
was painted. The handle, which in such fans 
is hollow, was wound with narrow ribbon and 
decorated with a bow of a wider variety, and 
slipped over the point of a common letter-file 
having a round iron standard, the latter being 
concealed by a full, gathered covering of satin. 

Such files are procurable for a trifling sum, 
and the entire cost of the screen is very slight 
compared with its beauty and usefulness. 
The handle of the fan should be cut off to 



bring the elevation within the desired range. 
Some fans are in themselves so attractive that 
they do not need to be covered, but woman- 
kind is usually best suited with the results of 
her own handiwork with needle or brush. A 
standard to take the place of the letter-file 
may be improvised by running a stout knit- 
ting-needle through a hole in a round or 
square block and pouring a little soluble 
cement or molten lead around the aperture, to 
hold it steady. The block could then be 
covered with velvet, plush, etc., tacked on 
with fancy brass nails. 






^^<^^i. 



XX XX > 



NeeDLG AND gi^asH. 



207 




' ' ' f~ P? y^^' ^'/''""^ \'^^^ 




: ■ f ~; & i\>ii^ i\^s!^ i\^i^^ 



CHAPTER XXV. 



HELPS F0R AMATEUR AR^TISTS. 




Crayon Work in Black and 
White. 

ATERIALS :— The materi- 

^^ als for crayon work should 

be of the best quality, but 



S^^^^ ^ complete outfit is neither 
large nor expensive. The 
following articles are nec- 
essary : 

A drawing-board 24 x 30 
inches, a piece of chamois, 
an easel and a rest stick, a 
soft, rolled chamois stump, one dozen small 
paper stumps, a stick of square Conte crayon 
No. 3, a stick of round Conte crayon, a stick 
of German crayon No. 2, a piece of Conte 
rubber, a brass crayon holder, a few sticks of 
soft charcoal, one dozen artists' thumb-tacks, 
a block of wood 3x5 inches, covered with fine 
sand-paper, a small palette covered with 
chamois, a stretcher of Whatman's paper, and 
a sheet of manilla wrapping-paper. 

If you wish to economize, make your own 
palette of heavy pasteboard, covering it with 
chamois. You can also make a block of wood 
and cover it with sand-paper. The block is 



useful to clean and sharpen the rubber and 
paper stumps. 

Make another block and cover it with fine 
emery paper, to be used in making a fine 
paint for the German and Conte crayons for 
paint work. The palette is for pulverized 
crayon, and when not in use it should be kept 
covered to prevent dust gathering on it. The 
paper stumps are sometimes called paperettes, 
and come in packages containing a dozen or 
more. They are good for producing soft 
effects. Do not use the stumps made of pulp. 
Whatman's Imperial and Double Elephant 
paper is best for all classes of work, though 
French tinted papers will sometimes be desir- 
able. All paper should be attached to a 
stretcher, so that the work may be perfectly 
smooth. These stretchers are sold at all art 
stores, but they may be made at home if 
desired. 

To Make a Stretcher. — Procure a pine 
frame 20 x 24 inches in size, or larger, if de- 
sired ; lay a sheet of Whatman's paper upon 
the drawing-board with the face down, first 
holding the paper up to the light to discover 
the face side. Dampen the entire surface 



2o8 



NeeDLe and Bi^ti$H. 



with a sponge ; lay the pine frame on the 
paper and trim the edges with a sharp knife, 
leaving the paper an inch larger than the 
frame ; then cut out the corners. Have ready 
some smooth flour paste and apply it with a 
small brush to the edges of the frame and 
also upon the paper beyond the frame. Then 
with the fingers turn up the paper upon the 
edges of the frame as smoothly as possible, 
drawing out the larger wrinkles. Take up 
the frame carefully and gently draw each of 
the four sides, one after the other, from the 
center toward the corners and see that they 
adhere firmly. It is not necessary to draw it 
so tightly that it looks perfectly smooth, be- 
cause this might make it split. If this plan is 
followed, no wrinkles will appear in the paper 
when dry. Do not touch the face of the 
paper with the fingers, because a spot however 
small will injure it. 

To Pulverize the Crayons. — Take a stick 
of No. 3 square crayon and rub it on a piece 
of sandpaper, holding it over the palette and 
allowing the pulverized crayon to fall upon 
the chamois palette. Make a quantity of this 
powder, taking care to have it all pulverized 
finely. Take a paper stump and grind this 
"sauce," as it is sometimes called, into the 
surface of the palette. It is then ready for 
use. 

Light. 

In any branch of art-work proper light is a 
necessity, and it is especially to be desired in 
crayon portraiture. A north light is usually 
the best, and the easel should be so placed 
that the light will fall upon it from the left 
side. Crayon work may be executed at night 
by a shaded lamp or gas jet as advantageously 
as by daylight, and in this respect it possesses 
an advantage over oil work, which cannot be 
properly done at night. 

Method of Work. 
The darker shadows or the values as they 



are sometimes called, should be put in first ; 
the high lights in this branch of art will take 
care of themselves. It should be borne in 
mind that the beauty of crayoning in a great 
measure depends upon light touches; hard 
rubbing gives a muddy appearance to the 
work, but light touches produce a beautiful, 
transparent effect. 

Take one of your paper stumps, insert it in 
the brass holder and then rub it in the crayon 
sauce until the point and tapering* end are 
well covered with the sauce. Apply this first 
to the pupils of the eyes, then to the nostrils 
and the line through the center of the mouth, 
and lastly, with a broad smooth stroke, to the 
lids of the eyes, the shadows in the ears and 
the eyebrows, following the outlines very care- 
fully. 

The stump will now do to use upon the 
values of the face, and it must be applied in 
broad even strokes to these shadows. Tint 
the iris of the eyes, the shadows underneath 
and the curve in the nose and around the nos- 
trils, using short parallel strokes first in one 
direction and afterwards crossing them with 
others at an acute but never at a right angle. 
Put in the shades of the cheek and forehead 
in the same way. The work will not appear 
well just at this point, but later on we will de- 
scribe its proper finish. 

In shading the cheeks begin at the outline, 
working toward the center, and curve your 
strokes slightly, avoiding all real lines. Scan 
your work well as you proceed, putting in the 
darker shades gradually, and do not make 
them too strong at first, as the transparent 
effect of this work must at all times be borne 
in mind. 

We will now consider the drapery. This 
should be worked up with the chamois or paper 
stump with short, broad strokes crossing each 
other at acute angles. Be very careful not to 
make your strokes all one way and do not let 



NeeDLG AND BH^S^- 



209 



the drapery have the appearance of being cut 
off abruptly, but shade it gradually lighter 
and lighter, until it disappears entirely. In 
representing a black coat or a silk dress, com- 
mence at the darkest part of the shadows as 
before described. 

Take the cleaner end of the chamois stump, 
and borrowing color from the values, sweep 
very gently and lightly toward the high Hghts, 
or rather across them, in different directions, 
crossing your strokes occasionally. Note 
carefully the photograph or whatever copy 
you are following. You may need to 
strengthen the values again and to even up 
your work. Take the Conte rubber with a 
rather sharp point and clean off the larger 
spots, using the rubber in the same way as 
you did the stump, crossing and recrossing 
until there is an even and general tone, which 
should, of course, be a little darker toward 
the shoulders and neck, and should end 
lightly if the subject is merely a bust picture. 

Detail is not followed in drapery, except in 
that near the face, such as the collar, neck tie 
or lingerie about the neck; but the folds and 
the way the light strikes them are always care- 
fully observed. To produce the proper effect 
the paper stump must now be used. Take up 
plenty of color at first, and put in the strong- 
est shades with short strokes. These strokes 
should be " hatched " in, by which method 
both transparency and depth are secured. 
Work over all the drapery in this manner, 
using the Conte rubber to clean off the spots 
and filling up the lighter places with the 
stump. More color may be taken up on the 
stump where the shadows need strengthening. 

Be careful not to leave the outlines of the 
shoulders too sharp, but work out a little be- 
yond them so as to impart a natural round- 
ness and pose. For the shade which is nearly 
always seen in the collar and vest-front, use 
the paper stump. 



For lace work use a chamois stump lightly 
tinted, and take out the white spots with the 
rubber, working to obtain a soft, delicate 
effect. If a very strong white is needed, 
scrape the paper with a knife until it is as 
white as desired. 

Sometimes it is necessary to go over the 
work again to give the drapery a perfectly 
even and regular appearance, and the round 
Conte' crayon is best for this finishing or re- 
touching process. Sharpen one end of it to a 
fine point, place it in the brass holder, and 
with light, short strokes go over the imperfect 
places until all is satisfactory. 

Backgrounds, Etc. 

The background of a portrait is of consider- 
able importance and claims special attention. 
Striking backgrounds should be avoided, 
because the face should have the first 
prominence. All other parts of the picture 
are merely accessories to the face, and should 
be so considered in treatment. 

Cloud rifts make a good background, but 
their outer and upper sides must fade away 
with great delicacy. A very sharp pomt is 
often used in cleaning up a background, as 
this will give an even tone. Very few pict- 
ures will bear a solid, dark background. If 
the subject requires a solid background, make 
it in the following manner : First, go over the 
entire surface of the paper or stretcher with a 
pad of chamois, moderately blackened with 
crayon sauce, after which take the square 
Conte crayon No. 3, and with the broad, flat 
surface of the side, rub with a circular motion, 
until the paper will hold no more. Then go 
over this with two fingers of the right hand, 
using the same motion. Be careful not to 
spot the face or the drapery. 

To produce a soft gray tint, after using the 
black crayon sauce, take soft white crayon 
and rub it over the black until vou 2:et the 



NeeDLs iiNB gi^asH. 



lone you desire. For the hair it is best to 
use the stump in only one direction. The 
soft flow of the hair should always be con- 
sidered. Avoid all lines, as they give a hard 
and wiry appearance. Represent hair in 
locks and masses. Borrow from the darker 
shades, and tint over the high lights with the 
chamois stump. Make it a little darker than 
necessary. Afterwards take out the high 
lights with the broad surface of the rubber. 
It is sometimes necessary to use the paper 
stump before the necessary softness can be 
obtained. The different degrees of shade 
must represent the color of the hair. For 
white hair, use very little color, and do the 
most of the work with the rubber. Mus- 
taches and whiskers are made in the same 
manner, the high lights being taken out with 
the rubber. When the picture is nearly fin- 
ished, a few lines or single hairs, either in 
hair or whiskers, may be put in, but use these 
lines very sparingly. The eyes may now be 
finished. Take the paper stump and tint it 
slightly with color. Use short strokes, cross- 
ing them lightly at an acute angle. Never 
have these strokes at right angles. Finish 
the upper lids first. Work upward, and away 
from them, toward the eyebrows. Darken 
them slightly. Strengthen the pupil as much 
as possible ; tint the iris, giving a deeper 
shadow to the upper part than to the lower. 
This is done to represent the shadow cast 
by the eyelid. The lower lid is formed by 
the shading above and below it. 

The peculiarities of expression must be well 
studied at this stage of the work. The catch- 
lights can be put in with Chinese white, after 
the rest of the work is finished. Tiie corners 
should be darkened now, and the ball tinted. 
If you should get any part of your work too 
dark, take it off with the rubber. Tone the 
eyebrows down gradually, keeping perfect the 
form and shape. Now take a chamois stump 



and pass it smoothly and broadly, back and 
forth, over the lids' of the eyebrows, rubbing 
down a little on the forehead. This gives 
softness, and blends the shadows into the high 
lights. In the iris, opposite the catch-light, 
there is a lighter tone, a reflected light, which 
should be given. Shade the remainder of iris 
according to the subject, and strengthen the 
pupil, making it a very deep black. 

The nose is our next consideration. Under 
the eyebrows, toward the nose, is a deep 
shadow ; borrow from this to shade the sides, 
and put in the nostrils, taking care to keep 
them the proper shape. Keep also the 
proper roundness. Now work away from 
them and give the curves to the lower part of 
the nose. Carry up your tones toward the 
eyes and oft" in the direction of the cheeks. 
Should a wrong stroke be made, the rubber 
will soon take it out. 

The mouth should be worked up with great 
care. The indications of sweetness and 
delicacy which should characterize the femi- 
nine mouth are sometimes lost by the same 
treatment which results advantageously in 
bringing out the firmness and strength of a 
man's face. Begin at the corners of the lips, 
being careful not to render them weak in tone, 
and work from them with a lighter touch to 
the center, where the greatest fulness lies. 
The slight curve here must be carefully pre- 
served, and the working up done very care- 
fully, to avoid a set or hard expression. 

Passing to the forehead, work it up with 
short strokes slightly curved at the temples. 
The work on this feature when finished, should 
be clean, but moderately open. Soften the hair 
where it frames the face about the temples. 

The line where the hair commences and 
the forehead begins, should be lost by a soft 
blending. The strongest light in any portrait 
should be on the foreheafl. If the subject is 
an elderly person, put in the wrinkles boldly 



NeeDLs AND BHtiSH. 



at first, using a paper stump, and afterward 
soften them above and below, using a clean 
stump. If you get them too strong, lighten 
them with the rubber. 

The face now having all its values blended, 
all shadows should so be worked up as to give 
softness and roundness. The high lights 
should all be delicately tinted, each shadow 
blending off gradually into the high lights. 

Finishing Touches. 
Look over your work carefully now ; on 
the outer edges of all parts of the picture, 
soften the outlines, and strengthen the shad- 
ows, where they need it, or lighten those that 
may seem too dark. The paper stump and rub- 
ber only will be needed for this work. Prepare 
the paper stump by rubbing it on the block 
of sand-paper. Trim the rubber stump with a 
knife, rubbing off the sharp edges on the sand- 
paper, and leaving this stump with a sharp 
point. On the skill with which these finish- 
ing touches are imparted, depends, in a great 
measure, the beauty of the portrait. No spots 
or specks must be left to mar the effect; the 
best rule for the attainment of general excel- 
lence is, study your subject well. 

Pastel Pictures. 

The degree of perfection to which this 
class of art work may be carried is evinced 
by the charming examples left by Girodet and 
Maurice Question. Crayon painting is rapid 
and easy of execution, and is especially fa- 
vored by amateurs who wish to execute land- 
scape or bird designs. In its instantaneous 
effects of light and shade it holds great ad- 
vantages over work in oil colors. By its use 
the artist can avail himself at a single stroke 
of any happy combination of color, which 
may seize his fancy or be presented to his 
vision. The finger becomes his most neces- 
sary tool ; it is brush and blender in one. In 
fact, if one wants brilliant results by the elec- 



tricity of art, the pastel crayon should be his 
motor. Boxes of gradated series of cra\- 
ons can be purchased suited to either land- 
scape or portrait use, and the process is also 
employed for bird and flower painting, all 
required tints being made by blending and 
softening these prepared shades into each 
other. How to work comes as an inspiration 
with the progressiveness of acquired skill. 

A special paper is manufactured for crayon 
work. This paper is sanded in such a man- 
ner that a velvety appearance is given to the 
work. That of a low-toned olive tint is best 
adapted to the purpose. 

In preparing for work, always attach your 
paper to a drawing-board by artists' thumb- 
tacks, carefully pushing them in at intervals 
of three or four inches around the edges. 
Leave quite a large margin on the paper, 
larger than you propose to have when the 
frame is added. Then it can be cut down to 
the size desired. 

Vellum is a fine surface for crayon work 
as on it great delicacy of tint can be ob- 
tained. What is known as glass paper No. i 
is used to prepare the surface. The paper is 
held in the fingers and rubbed over the 
smooth side of the vellum circularly, until the 
surface is uniformly roughened up. Patience 
and a firm hand are necessary, in order to do 
this work correctly. Very desirable results 
are however obtained on this prepared vellum 
surface. The painting must not be begun 
until after the whole surface is evenly " pet- 
ted," and the white powder discharged during 
the roughening process carefully rubbed off. 
The vellum must also be placed on a stretch- 
ing frame and strained upon a backing of 
fine canvas, over which perfectly smooth 
paper has been pasted. Then it may be 
placed on the easel. The coloring on the 
vellum will be described after other general 
directions are given. 



NeeDLS AND SI^Q$H. 



Crayon pictures must be framed at once 
when finished, and they should never be ex- 
jDOsed to the direct rays of the sun. Moist- 
ure is also fatal to pastel work, but the dura- 
bility of portraits that have been shielded 
alike from the effects of glare and damp is 
well attested. 

The colors now manufactured are much 
superior to those of an earlier da)', and 
less liable to change with time. Pumice 
paper answers very well for portraiture when 
one cannot use vellum. Tiiis paper should 
first be given a coat of starch, a large soft 
brush being used to apply it and the extra 
powder then brushed off. 

Prepared surfaces can now be purchased at 
the best art stores. Canvas prepared as de- 
scribed may also be used for pastel work. 
Paper, before being put upon a strainer, 
should always be smoothly backed with one 
or two thicknesses of cloth, so that the rub- 
bing of the finger will not tear it. In portrait 
work the drawing of the outlines may be 
made with a hard brown or gray crayon ; do 
tl'iis drawing lightly, so that the marking will 
not appear under the other work. Never 
use a black-lead pencil for this purpose. A 
rapid and excellent method of working up a 
crayon portrait, is to lay in all the tints with a 
leather or paper stump. Proceed with the 
complexion first, beginning with the lights. 
Proceed from highest lights to deepest 
shades, put them in with equal strength, and 
blending the middle tones with great care, in 
order to unite the lights and shades by imper- 
ceptible gradations. When all the tints are in, 
wliich gwefortji, color and expression, take the 
fore or little finger and blend them into perfect 
harmony. This method will soften not only 
the spirit of the color, but the tone of the 
whole work. Right here the necessity of hav- 
ing a clear and forcible sketch to begin with 
is apparent. When the blending is com- 



pleted, use the crayon again to bring up the 
color to the proper tone. A little care and 
experience will enable one to become very 
skilful in the use of the finger, but before 
commencing to use it, be very certain that 
the tints are all in their proper places. Do 
not, in retouching, work upon the colors too 
much, as they will lose their freshness and 
transparency. Work up the breadths of ex- 
pression in your picture and do not dwell too 
much on detail. 

In feminine portraits, bright and fresh hues 
are employed. White, Naples, Vermilion and 
Madder, mellowed with yellows, . or as taste 
and judgment suggest, empurpled with lake 
or carmine are adaptable to artistic treatment. 
Use stronger colors for masculine portraits, 
and develop your half tints more positively. 

For draperies, dress and other accessories 
in portrait work, greater freedom and decision 
are allowable than in the features. Light 
backgrounds or dark ones may be used, ac- 
cording to the subject. A good general rule is 
to make the background around the head, 
lower in tone than the half tints of the face. 
This gives the effect of air and space around 
the head. If, in working, your paper becomes 
a little greasy or glazed, rub it gently with a 
piece of fish-bone. If the fibre of the paper 
should become loosened, wet it a little on the 
back with weak alum-water. 

Should vellum be used for pastel portrait 
work, select a piece with smooth, even texture 
and prepare the surface according to the 
method described. Vandyke worked on the 
principle that there was no color in the shade 
of flesh. In this principle lies the art of 
delicate tints. Avoid all harshness of expres- 
sion in pastel work ; the charm of the picture 
lies in a soft, even finish. 

In landscape-work harder crayons, manu- 
factured expressly for this purpose are used. 
The following list comprises the best colors — 



NeeDLG ilNQ gi^Q5H. 



213 



white, Italian chalk, straw color and yel- 
low in shades deepening from pale-yel- 
low lo brown tints. In blue, begin with 
azure and get all the intermediate tones be- 
tween this and very dark ones. In gray the 
pale and deep, the neutral and the very warm 
tones are available. In red all the shades 
from delicate pink up to Indian red, are 
likely to be needed, while in black Conte 
crayons Nos. i, 2 and 3, will sufifice. 

The white Italian chalk is used not only 
for the lightest touches, but to blend and 
qualify all the other crayons. The Conte 
crayons Nos. i and 2 are used for outlining ; 
No. 3 is used for reducing the tones of other 
colors. 

In the manipulation of the crayon for land- 
scape there are many points of difference 
from portrait work. Break off a portion of 
your crayon and apply it fiat or lengthwise to 
the paper on which you are working. In this 
way, a lightness of tint, not otherwise obtain- 
able is produced. Rub. the color in with the 
index and middle fingers into the texture of 
the paper. The thumb, and in large land- 
scapes even the palm of the hand may be 
also used. Continue these tintings until you 
get the proper tone, working and blending 
your colors together as they require. In this 
way the flat tints of the sky are laid. Upon 
these superpose the clouds, using the crayon 
as before described. Bring the breadth of 
the sky below the line of the horizon. Use 
this as a base for marking out the distant 
mountains or other far-away objects in your 
picture. Blend and repeat these tones until 
the work appears just right. 

The middle distance and near objects are 
made by the neutral tints. Continue the use 
of broken pieces of crayon, working them 
horizontally or holding them in whatever posi- 
tion best suits the work. In sky and distance 
use the Conte crayons Nos. i and 2 ; these 



are very helpful also in the near parts of the 
picture. Break oK a fragment of crayon, 
suited in size to the object to be drawn, using 
the sharp edge of the fracture of the crayon to 
work on. After your work is drawn in with 
the Conte, tint with the necessary colors. 
This is done much in the same way as the 
glaze in oil painting is effected. Lay on 
your colors so as to gain transparency of fin- 
ish ; avoid opaque effects. Finish your pict- 
ure with sharp, crisp touches, made with the 
broken edge of the colored crayons. 

To fix the drawing : To five ounces of dis- 
tilled vinegar add not quite two ounces of 
ising-glass. Pour into one quart of hot 
water, and set in a warm place, stirring often 
with a wooden stick. When the ising-glass is 
dissolved, filter the liquid carefully through 
paper, place in a bottle and pour in slowly 
a small glass of spirits of wine. Cork the 
bottle and shake well. This makes an excel- 
lent fixing liquid, which is applied as follows. 
Arrange the picture, crayoned side down- 
wards, placing a soft pad under each corner, 
so that the drawing will not touch the table. 
Apply the liquid with a good sized brush to 
the back, and go over it the second time, but 
more lightly, until the crayoned surface is 
well penetrated. Spread the liquid evenly 
over the back of the picture, then turn the 
work, face upwards, to dry. A picture thus 
fixed may be varnished if desired, but. before 
being varnished should be given a coat of 
strong solution of ising-glass, to which has 
been added one third spirits of wine. The 
same method of fixing can be used for crayon 
work placed on canvas. 

Colored crayons are also used for finishing 
large floral and bird designs on plush. The 
design is first given a rough coat of white, 
laid on rather heavy. When dry, it is re- 
touched with the colored crayons, the colors 
being used (in reference to shades) as in oil 



2 14 NeeBLG AND gi^asN- 



work. Birds of Paradise are very handsome, be painted on pastel paper and the work 

finished in tliis way. Large Peacocks, and a fixed in the manner described. A skilful 

design comprising an " Eagle, Shield and artist can also retouch large designs on satin 

Flag," with roses and pansies decorating the with the colored crayons. The possibilities 

shield, result very effectively by this process. of crayon work are numerous, and new ideas 

The " Eagle, Shield and Flag" design may regarding it will develop with experience. 



"Trifles Ligl]t as ]fl[ton]s in tl|e ^ir." 

The poetic chronicler of the Queen of grotesquries are admired, on principle, and 
Sheba's time-renowned journey says that in she argued that anything really pretty as well 
them " the wise may find some useful lesson as Japanesque would certainly be woith 
to enrich the mind, some truth designed to achieving. So she selected three of the pret- 
profit or to please." This is what a bright tiest of her Japanese paper squares and tacked 
woman of to-day found in some Japanese them, face down, upon a table where they need 
paper trifles. The " trifles " were square in not be disturbed for a few hours, because 
shape and measured about nine inches either their obverse sides were to be coated with a 
way. Some were figured in a unique, some in thin sizing of white glue. The little shelves in 
a grotesque manner with Japanese art studies, the table she covered with thin layers of cotton 
and with hieroglyphical figures, and none of batting and over this tacked smooth wrapping 
them had cost over ten cents, most of them paper of a light tint. When the Japanese 
only five cents each. She had often seen squares were thoroughly dry, they were quite 
them made into sachets^ and panels, but her firm and she laid them smoothly over the wrap- 
most pressing want was for something that ping paper, using a suspicion of glue about 
would do to cover a tiny table, having two their edges to secure them. When slipped into 
shelves below the top, and long slender legs, place they are entirely enclosed by the frame- 
The woodwork was painted a light shade of work of the table and with a queer shaped 
grayish blue and picked ^ut with silver in Japanese vase upon the lower shelf, a gro- 
places, and in the Japanese paper there was tesquely faced gentleman of Japan upon the 
some silver and considerable of the bluish-gray other, and a little lacquered tray for cards 
tint. Hence the inspiration. Plush of that upon the top, the idea and the purpose it 
peculiar shade of bluish-gray was expensive serves are brought into harmonious perfec- 
and the table was only one of many things tion. An open Japanese fan hangs from one 
required or desired by the mistress of a pretty corner and — well it certainly is as pretty as 
cottage who confessed herself the possessor many boudoir tables which cost generous 
of plenty of leisure, was justifiably conscious sums. Not as durable perhaps, but then it 
of her good taste and not ashamed of the fact can be re-covered whenever occasion requires, 
that her financial outlay must be very guarded, and it is no more liable to show defacements 
nor by that fact deterred from trying to make than many of the highly polished or decorated 
her surroundings artistic and worthy of admi- articles in fashionable vogue. Best of all, it 
ration. She knew that a great many Japanese supplies a want without creating another. 



NeeDLG AND gi^asH. 






^m 



_ ^ _- . jS^fr^ 










CHAPTER XXVI. 



E)EG0RAT-10N 0F DAISIES IN 01L (L0L0RS. 



^'/^VtJi^, 



N both of these designs the flowers 
J ^ are grouped in a manner charmingly 
;^ ' graceful and appropriate for the 
*^^ decoration of almost any article for 
which hand-painting is suitable. In 
preparing a palette for them, silver- 
white, lemon-vellow, pink-madder, emerald and 
chrome-green are the colors usually selected, 
some artists also drawing upon the color-box 
for a little brown-madder, to be used with the 
greatest reserve. After the daisy-petals have 
been painted in white and allowed to dry, the 
centers may be put in with lemon-yellow and 
the petals retouched with white, to which a 
little pink-madder has been added. A faint 
line of brown-madder around the yellow 
center accents the growth of the petals. In 
mixing the greens, about equal parts will be 
needed, but if the color of the background 
throw them into a vivid or too strong light, 
the proportion of the darker may be increased. 
In treating any design the first coat of 
paint should be allowed ample time to dry 
before adding the finishing touches. In 
painting daisies the petals should likewise be 
given sufficient time to dry before the yellow 
centers are added. Take up the paint on the 
point of the brush and paint from the top 



downwards, allowing the color to spread 
toward the margins, and being careful not to 
go beyond them. While it is true that in oils 
a false movement is often less disastrous than 
in water-colors, still each stroke of the brush 
should count and there should be no evidence 
of careless or labored brush work. The 
hand should be trained to hold the brush at 
any angle required. 

A great many flower-subjects require that it 
should be held almost perpendicularly. Too 
much stress cannot be laid on the caution to 
clean all the paint out of a brush before using 
it for another color. 

If the design is to be painted on plush a 
sizing will render the fabric more responsi\"e 
to the brush and at the same time prevent it 
from absorbing too much paint. A recipe for 
sizing is given in another chapter. Some 
artists find a solution of gum arable sufficient, 
and apply it very lightly to the surface to hold 
the nap down. Plush having a short, thick 
glossv pile is preferable to any other variety, 
and experts scarcely ever use sizing. 

Among the various articles for which these 
designs are suitable decorations, are hand- 
kerchief-cases, fan-bags, sachets, pincushions, 
bureau and chair scarfs, lambrequins and 



NeeDLG AND BH^S^- 



217 



other articles of use and beaut)'. Silk and tive selection. It is sometimes called " artists- 
satin are the most advisable selections for velvet." Practice will enable even the .novice 
backo-rounds, unless the worker feels sure of to use almost any material, but a fabric with a 




her ability to develop a good effect upon specially absorbent or repellant texture is not 
plush and other fabrics having a pronounced the best to begin upon. Experience will teach 
nap. Moleskin is a favorite and very effec- which to select and which to avoid. 



^M 



^^^Vx^i^ 



n^ 



-]^^0^W^^^§^^^ 



2l8 



NGGDLG :^ND B^^S^- 




CHAPTER XXVII. 




DEG0RATI0N 0P AZALEAS IN 01L G0L0RS. 

I'OT of growing azaleas, of counterfeit resemblance betrays laborious 

the variety which is almost efforts to introduce, witli their adapted pose, 

uniformly white, but has the same conditions which exist in their nat- 

dashes of rose color that, ural growths and groupings, the effect will 

by contrast, look quite be far from satisfactory, even though the 

vivid, is the best sludy for color effect in general be excellent. The 

this decoration ; but if azalea, having thin semi-transparent petals, 

such aid cannot be naturally takes on a cool and somewhat 

secured any one who has a correct impression greenish tint, the latter quality being partly 

of the appearance of the fiowers may, with due to the abundance of foliage which dis- 

the aid of the outlines provided by the tinguishes the plant, and which is especially 

engravings, depict them with all their natural- noticeable in the single varieties. The 

ness and grace. The conventional pose to scarcity of foliage in the designs pictured in 

which their application as decorations sub- the present instance, reduces the greenish 

jects them need not rob them altogether of reflection in the blossoms, but does not oblit- 

the effect of light and shade, to which their erate it entirely. For the shadows in their 

delicate, silky texture is so sensitive and so deepest tones a very little burnt-umber may 

responsive, but it must necessarily limit the be used, but it is wiser to depend on a trifle 

play of light and shade. Nevertheless the of black in the deepest effects than to run the 

skill with which the shadows are worked up danger of introducing too broad an effect 

has much to do with the success of tiie deco- with this color, which has a very seductive 

ration. Indeed it creates the difference influence upon the brush of an amateur, 

between what may be called a natural and a Sufticient depth of tone, with an agreeable 

forced effect. Sprigs of azaleas might be warmth, may be imparted by using cobalt 

placed in the position indicated without los- with Naples-yellow and cadmium. The petals 

ing their characteristic grace and beauty; should not be too heavily painted; silver- 

and, thus placed, they might be painted to white is u$ed for them and. except where liigii 

appear harmonious and artistic, but if the liglils are essential, is not veiy thickly laid 



NeeQi^e anD 5F(tisH. 



219 




NSeDL© AND 5H^S"- 



on. This statement must not, however, be 
interpreted to mean that the texture is not 
well covered. The streaks of rose-color are 
put in with irregular strokes so as to bring 
out the natural effects seen m the flowers. 
In the buds the color must be applied with 
careful consideration for the undeveloped nat- 



all with colors will understand which are most 
in harmony with the ground shade. Such 
treatment is not in opposition to the artistic 
law of following nature, because, even in na- 
ture, all visible effects owe their salient points 
to contrasts and combinations. The illustra- 
tions under consideration suggest that the 




U7-al hues. The half-formed petals, wrapped 
in their folds, hold little, if any, sunlight, and 
should be painted in cool, opaque, but not 
too heavy tints. 

For the foliage the greens used may vary 
according to the fabric selected for the back- 
ground, and any one who has experimented at 



sprigs were taken from near the top of the 
growing stalk, and they would naturally be 
more tender and delicate both in color and 
fibre than those growing lower down. These 
sprays ma\- be effectively developed as deco- 
rations for sachets, handkerchief-cases, fancy 
book-covers and various other articles. 



-®'m)m^^:^Mi 



nggDlg and bi^q$h. 




,'.,ii<iiiiiiiiiil aiiiiiiiiiiLLiiiiiiiiiiiiiiu^s 



CHAPTER XXVIII. 



¥hmm mwMM m eiLS. 




Flower Painting in Oils 
on Textile Fabrics. 

() any one who aims 
{'jMM((!r^m^T to do decorative 
' painting the abuity 

to sketch the oiit- 
Unes of a design is 
advantageous, but 
not indispensable, and, while a 
little study and practice will en- 
able self-taught artists to copy 
any decorative design, lack of 
time or inclination to do this need not debar 
a novice from attempting to paint ; because a 
great many designs for artistic work can be 
procured ready for stamping upon the fabric. 
Special designs may be prepared for trans- 
ferring by the following process : Over any 
design for decorative work contained in this 
book or obtainable elsewhere, lay tough trans- 
parent paper and draw the outlines with a 
pencil. Perforate these outlines with a trac- 
ing-wheel or by laying them under the foot of 
a sewing-machine and going over them with 
the needle, unthreaded, as if you were sev/ing. 
This will perforate them very evenly, and if 
the design be too intricate to go over all the 



details, the latter may be perfected by observ- 
ing the original and using a tracing-wheel 
upon them. Having proceeded thus far the 
perforated paper is laid upon the article to 
be decorated, with the rough side up, and a 
little blue powder is rubbed upon the pattern. 
A pad or roller for applying the powder is 
easily made from a spool covered with flannel 
or chamois. The paper should be held in 
place by weights ; and after the powder has 
been rubbed into the perforations the pat- 
tern may be removed, a clean paper laid 
over the design and pressed slowly with a 
moderately hot iron. Upon plush the design 
may be transferred with stamping ink, which 
will pass through the perforations of paper 
having a tough fibre. White powder may be 
used upon dark, and blue upon light goods. 
In copying a design that is thickly covered 
the principal lines may be traced, and if the 
others be too intricate to follow them in the 
manner described, they may be added with a 
colored pencil after the stamping has been 
done, — it being easy even for a beginner to 
perfect the pattern if the oudines and princi- 
pal divisions are correctly placed. 

It is presumed that the first lessons will be 



NeeDLG AND 5H^$H. 



taken upon simple selections from the floral 
kingdom and after a few experiments with the 
contents of the color-box. A spray of wild 
roses is a good selection, though its mention is 
not intended to convey the idea that it is one 
requiring but little skill in its treatment ; for 
this flower is susceptible to most artistic 
effects. 

Among the colors which may be considered 
necessary to an outfit are the following : Black 
and white (no matter if according to some 
persons these are said to be, not colors, but 
the absence of all color), yellow, blue, red, 
brown and green. This list is a short one, 
and if it comprised all the tints and tones 
which the flower-painter requires tiie art of 
painting would be simplified immeasurably, 
but of each of these there are shades, and 
shades, and shades, some of which the color- 
ist calls tones and some tints, and how to pro- 
duce them and which to use are perplexing 
questions to the novice. If the beginner does 
not aspire beyond decorative work in conven- 
tional designs the problem is still easily 
solved, for the color-man has evolved from and 
expanded the list of colors mentioned into a 
number of prepared tints which supply the 
majority of the natural hues seen in flowers. 
The following list comprises the tones and 
tints required for the class of flowers usually 
selected by students of decorative art, and 
while it is not by any means intended to con- 
vey the idea that the requirements of flower 
painting, in the way of color, are limited to 
the list enumerated it will serve as a guide to 
those who do not wish to provide a large out- 
fit and are puzzled by the list of colors which 
is offered them to select from by dealers. 
A practical color-box may contain the follow- 
ing : Cadmium-yellow in two shades, the 
light or No. i, and the deepest tint, which 
enters into the rich dark shades in nastur- 
tiums and similar flowers ; lemon-yellow, In- 



dian-yellow, King's-yellow and chrome-yellow 
— the latter is in four shades one of which, the 
lightest, is sufircient for the beginner. 

Light-red will serve many purposes, being 
susceptible of numerous gradations. Vermil- 
ion, both alone and mixed with yellow or car- 
mine, is equally valuable. Raw and burnt 
Sienna and raw and burnt umber are both 
extremely useful and have a wide range of 
values. Permanent-blue, Antwerp-blue and 
cobalt-blue are capable of yielding, when 
lightened or darkened, the blue tones and tints 
most in demand for flower painting, but Prus- 
sian-blue may be added to the list. Terre-verte, 
Verona-brown, rose-madder, pink-madder, 
Vandyke-brown, ivory-black, chrome-green in 
its light and deep shades, and (if you hesitate 
to experiment in the production of this need- 
ful color) in its middle tone as well, will com- 
plete the number that need be purchased until 
some degree of proficiency has been acquired. 

For brushes, Nos. 2, 4, 6, 8 and 12 sables, 
with a No. 3 bristle brush, all having long 
handles, will suffice ; of course you must have 
a palette of hard wood or porcelain, a palette- 
knife and, for using with some of the yellows 
a horn or ivory spatula, a small bottle of pale 
drying-oil and a little turpentine to be used as 
a mixer. Having provided all these things 
and a drawing-board the beginner may hope 
to proceed with the consciousness that she 
has excellent facilities for developing her in- 
herent taste. It is not unlikel}-, howevet, 
that if she be unacquainted with the proper- 
ties of different colors and their effect upon 
each other she will feel some diffidence in 
mixing, and for her benefit the following sug- 
gestions regarding color mixtures are included 
in this chapter. 

Ivory-black and kremnitz-white may be 
mixed to produce various gray tints, and a 
little practice gives the exact proportions for 
shading white flowers. 



r 



NeeDLS AND gi^QS^- 



223 



Warm, delicate grays are produced by mix- 
ing yellow-ochre, cobalt-blue and rose-mad- 
der ; where the greatest depth is required a 
touch of black may be added. 

Rose-madder and permanent-blue, with a 
slight touch of carmine, yield a deep royal 
purple, and by increasing the proportion of 
rose-madder the lighter shades may be 
produced. 

Yellow and blue in varying proportions pro- 
duce several different shades of green, and 
the addition of a little rose-madder removes 
the tendency toward crudeness. 

Green, of the brownish hue frequently seen 
in autumn foliage and in rose stems, may be 
compounded of raw-umber and chrome-yellow. 
A beautiful range of cool greens is produced 
by mixing brown-ochre and Antwerp-blue. 
Raw-Sienna, burnt-Sienna and Antwerp-blue 
produce deep olive greens. 

Terre-verte, without any supplementary 
color, gives a rich dark green possessing con- 
siderable depth of tone. 

Chrome-yellow added to chrome-green No. 
I, produces a brilliant light green. 

Burnt-Sienna alone is a warm, light-brown. 

Rose-madder and white may be mixed to 
give an infinite variety of pink shades ; and 
very rich pink shades are also developed by 
usins: greranium-lake. 

The entire gamut of light yellow shades 
may be produced by uniting lemon-yellow and 
white. King's-yellow, used alone, is delicate. 

Prussian-blue, without any admixture, gives 
a good dark shade of blue ; cobalt-blue alone 
produces a medium and very clear shade, and 
permits of adding considerable white accord- 
ing to the tint desired. 

For very light blue, considerable latitude 
is permitted, permanent-blue and white being 
frequently mixed, though many artists com- 
bine all shades of light blue to produce the 
tint sou2:ht. 



Brown-madder, used alone, has a reddish- 
brown tint, and Vandyke-brown, alone, a dark 
tone. 

Vermilion or scarlet-lake alone gives a 
bright red, resembling brick-red. Carmine 
alone gives a darker and softer red, and 
mixed with crimson-lake yields still softer 
shadings. 

A tint between yellow and green, frequently 
in demand, is obtained by using greenish 
Naples-yellow. 

Ivory-black alone gives deep black. 

Brownish red, which differs from reddish 
brown only in having more brown than red in 
it, is produced by the use of burnt-carmine. 
It appears in the dark spots in dark yellow 
nasturtiums. 

The secrets of the color-box cannot long 
baffle anybody who resolutely sets to work 
to learn them, and takes for models natural 
studies. 

A pane of glass is a convenient addition 
to the amateur's outfit, because the separate 
colors can be mixed upon it and then trans- 
ferred to the palette. A painting apron, 
ample enough to protect the dress, and a pair 
of outside sleeves (unless the apron be pro- 
vided with sleeves) are essential to the para- 
phernalia of an amateur, who is quite apt to 
decide important color problems with her 
brush poised at a dangerous angle. 

Bear in mind that all mixing of colors 
should be done before applying them to the 
goods and that a brush should be cleaned 
before dipping it from one color into an- 
other. 

All work should be allowed to dry before 
removing the tacks which hold the fabric in 
place upon the board. 

In painting upon satin, pale drying-oil used 
sparingly is a good mixer, but on plush and 
velvet, the penetrating qualities of turpentine 
are valuable. 



224 NeeDLS ilNB gI^a$H. 



Megilp is preferred by some artists for mix- If the fabric requires sizing and the design 

ing light colors. is a spreading one which leaves much of the 

Sicative Courtray is a valuable dryer for surface uncovered it is best to draw or stamp 

dark colors, which are naturally slow dryers. the design and then apply the sizing only to 

It should not be used with light colors, as it the portions that are to be painted, 

impairs their brilliancy. There are many points which the student 

Soft brushes are best adapted to satin, and will learn by experience, and among them are 
clipped sables or fine bristle ones to velvet the amount of moisture the brush will carry, 
and plush. To clip a sable brush, use sharp how much the fabric will receive and how- 
scissors and trim it diagonally at the sides much time is needed for drying by various 
and then take off a little of the top. Fine, colors. Indeed it is only by experience that 
medium and medium-coarse brushes are use- these and other details are acquired. It is 
ful for fabric painting. wise, however, to always press the brush 

In painting flowers have if possible the nat- against the side of the palette before carrying 

ural blossoms within sight. If this is not it to the fabric, and to give body-colors time 

practicable the amateur cannot do better than to dry before attempting to retouch them, 

to avail herself of a good study. In looking When attempting a large piece of work an 

at a study, however, she should avoid bring- easel is necessary and a rest or mahl-stick 

ino- it within too close range. It should be for the hand is essential to the protection of 

placed where the subject is shown in the most the work. Most artists prefer a north light, 

favorable light, and the aim should be to work It may be added that the worker should sit so 

for the same result. that the light will fall over the left shoulder. 



Odors of Jlraby. 

Beauty dispenses them nowadays every In this bag she places the fans that she 

time she waves her fan, and this is one of the carries most frequently and she argues wisely 

ways she contrives to imprison within its when she says that it is a more convenient 

dainty texture the faint aroma of her choice. receptacle for them than a frail box, besides 

She makes a bag that is long and narrow, using being a very attractive bit of color when hung 

for it velvet, ribbon or plush, in two highly or near her dressing-case. A pretty bag is made 

slightly contrasting colors, or perhaps in a of c/rssoii ribbon and crimson plush. An- 

uniform tint. The top she turns in to form a other is of olive and pink grbs-grain ribbon 

frilled heading above a casing in which she and still another is of heliotrope Surah. Fan 

runs narrow ribbons to draw in opposite direc- bags may be made of pretty scraps left over 

tioiis and by these she suspends the bag after from larger articles ; ornamented with painted 

she has placed in it a tinv bit of gauze con- pictures of the blossoms from which their 

taining cotton sprinkled with sac/icf powder. odor is derived they are useful and pretty. 



NeeDLs AND BH^s^. 



225 



tc«?c>^co9<c^>^«^ >ffoo^ 



"" "' "^^ " pi^i'p^s pi''> ^ ') ^ 

^XXX KXXX X X X X xvi X X X X XX X XX X X XX XX Xj 

fX X X X X XX XX^^^ X X X X XX X X X XX X X X X X XXJ 



CHAPTER XXIX. 




PAIOTIMG 0M GMSS. 

OME of the most effective expo- methods of working out different designs are 

sitions of decorative art are given. 

developed on glass. Mirrors, table The art of painting on glass requires no 

screens, etc., embellished with the special preparation beyond the knowledge 

brush become veritable works of which applies with equal force to all other 




Figure No. i. — Decorative Folding Screen. 



art ; in the choice of subjects for their orna- branches of decorative art. Of course the 
mentation personal fancy is allowed full play. glass should be free from soil or lint, clear 
In this chapter three illustrations showing the and of a good quality. 



226 



NeeDLG ilND BI^QSH. 



Dacorative Folding Screen. Upon one pane! is painted a stalk of old-fash- 

Figure No. i. — This screen is a very pretty ioned hollyhocks; upon another, a hop-vine 

ornament for a table or dressing-case. It is shown, while upon the third a cluster of 




Figure No. 2. — Ornamental M[rri)R. 




Figure No. -i. — Landscai'e I'aintinc; on a IMiukor. 



comprises three panels, which are united by forget-me-not sprays is grouped. The holly- 
ribbons passed through perforations made hocks are painted in the streaked red shades 
near the top and bottom, and prettily bowed. peculiar to one variety of these blossoms, 



NSeDLG AND IlP^a^H. 227 



their foliage being in quite dark shades of two panels may be purchased at shops 
green even in its tenderest portions. The where artists' supplies are kept. They are in 
stalk has a brown-green tinge, but the effect both ground and plain glass, and their shape is 
of the entire subject is sunny and spirited, duplicated in celluloid and other semi-trans- 
and any one who has ever seen these sturdy parent materials, 
flowers growing will understand that a truth- 
ful representation of them could not be other- Ornamental Mirror. 
wise. The exact tints required for the various Figure No. 2. — This mirror has consider- 
parts of the subject are easily determined by ably more frame than glass in its composi- 
a little study, and it may be added that these sition, the proportions being regulated, how- 
bold, single-petalled flowers are among the ever, with a view to producing a very unique 
best that an amateur can select for experi- effect. The wood is given a tinted back- 
ment. The coloring of both leaf and blossom ground and upon it a floral design is painted, 
varies with the different stages of their growth, The picture merely suggests the posing and 
and in the same group, stalks bearing bios- general arrangement, but the idea illustrated 
soms of differing colors are usually seen, con- could be carried out no matter what selec- 
sequently any list of colors which might be tions were made. The bird and butterfly may 
mentioned as suitable would embrace nearly be of any varieties which the artist admires, 
the entire number found in a well-supplied Very beautiful mirrors framed and decorated 
color-box. White, red, pink and variegated in this fashion are seen in ladies' boudoirs, 
hollyhock blossoms work up well on glass. and one that is especially worthy of being 

The hop-vine in its early growth is a tender pronounced artistic has a design of wild roses 
yellowish green, there being but little differ- and clematis painted upon a dark back- 
ence in color between the leaves and the ground that gradually lightens into a sky- 
growing hops. The canons of decorative art blue toward the top and gracefully fades into 
do not, however, compel the artist to adhere <*■ cloudy mist. A flight of swallows flying 
strictly to this fact in treating the subject, downward, as if about to light upon the 
Considerable depth of tone may be imparted mass of bloom adds animation to the eft'ect. 
to the foliage especially in its heavier portions. 

It should be remembered that the vine is Landscape Painting on a Mirror, 
posed in an attitude the reverse of that which Figure No. 3. — Quite an ambitious sub- 
it assumes in growing, this also being in ac- ject for mirror decoration has been under- 
cordance with the laws go\'erning its adapta- taken. The scene is a wintry one and 
bility to decorativ^e purposes. cannot, of course, be accurately delineated in 

The forget-me-nots on the third panel the space given to the illustration. Some 

afford an excellent opportunity to the artist suggestions may however be given which will 

who delights in bringing out the decorative be of value to amateur artists. No in- 

possibilities of fine blossoms. A glance at structor can, however, hope to equal nature 

the natural blossoms reveals a great many as a teacher, and it is therefore assumed that 

shades of blue, and in the painting these are the artist will have observed closely before 

all reproduced by dainty touches with a fine beginning to paint, so as to be able to carry 

brush. the impression of natural snow^ and ice and 

Screens of this style or those composed of a clear frosty atmosphere. Supposing the 



:28 



NSeDLS AND BI^QS^« 



scene on the mirror to be illuminated by a 
sunset glow which permeates its gray wintry 
tones and brings out the brilliancy of its 
gleaming white lights, we would suggest for 
the palette white, black, light-red, light- 
green, and cadmium-orange. After laying in 
the heavy shadows with black, red, and 
orange blended into deep cool tones, the 
naked stump of a tree may be painted with 
white, black, light red and orange cadmium, 
shading it so as to bring out its lights as well 
as its shadows. The sky tints will merge 
from light to dark, the haze along the horizon 
being soft and slightly roseate compared with 
the colder hues. White, cadmium-orange, 
light red and black will give its hues, and the 
heavier clouds may be intensified by increas- 
ing the proportion of black and red. The 
dark perennial foliage which is suggested by 
the illustration will require to be treated in a 
way that will suggest its permanency and yet 
keep it in harmony with the other attributes 
of the scene. To bring out its deep shadowy 
tones the entire list of colors mentioned for 
the palette may be drawn upon, the effect 



when completed suggesting rather than indi- 
cating the green shade. The snow of course 
suggests the use ot white primarily, but its 
position and the reflections it receives may 
involve the use of every color on the palette, 
its high lights being preserved however* in all 
their purity and crispness. These should not 
run into each other, and to avoid the soiled, 
indistinct effect which too often characterizes 
the efforts of amateurs in this branch, they 
should be touched on after the deeper tones 
have had time to dry. A final caution may 
be added in the following words. Remember 
that a snow scene or Northern winter land- 
scape should not hint of the tender greens, 
soft skies and leafy luxuriousness of June. 
It may be spirited, have life and color and be 
quite as susceptible to intelligent treatment as 
a landscape that tells of the awakening of 
birds, the blossoming of flowers and the life 
of all Natin-e, but it must not suggest that 
it has borrowed its animation from a season 
that is passed or hint of one to come, because 
if it does this the subject is no longer a winter 
scene. 









.9^-r^j 



NeeDLe iinD gi^tiSM. 



229 




CHAPTER XXX. 



PAIMT^IRG m PLAQUES. 




^^ 'F all the numerous varieties of 
decorative art, none is more popu- 
lar or pleasing than that of plaque 
painting. The plaques are obtain- 
able in wood, porcelain, china, papier mache, 
metal, etc., and are found in the ordinary 
plaque or plate form, oval, square and oblong; 
the square and oblong often being bent or cut 
away at the corners to form picturesque lines. 
They are decorated in floral and other de- 
signs, as the taste of the artist may suggest. 

Many of the wood plaques are decorated 
upon their surface, leaving the grain of the 
wood to furnish the background, and when 
selected in bird's-eye maple and other hand- 
some grainings, the effect is charming. The 
metallic plaques are equally attractive, and 
those made of papier viache, which may be 
bought bronzed in gold, silver, copper and 
other colors, have many admirers. If one 
desires a shaded or different colored back- 
ground from those obtainable ready for use 
at the shops, the desired colors may be easily 
applied in free and heavy strokes with a brush 
and the shading may be done in any artistic 
way. 

The subject for decorating the plaque hav- 



ing been chosen, the outline should be deli- 
cately indicated, after which the background 
is applied before beginning to paint the flow- 
ers or other designs. This enables the artist 
to retain the outline of the subject in relief 
from the background, which, if it were applied 
after the finishing up of the subject, would be 
likely to interfere with the lines of the decora- 
tion. If the method suggested be followed, 
the flowers will stand out in much stronger 
relief than if otherwise treated. 

Mistakes are often made by amateurs in 
selecting too massive and confused a subject. 
It is better to make such choice as will give 
value to each identical leaf and blossom, at 
the same time avoiding all that will have 
ungraceful lines. Pretty subjects for begin- 
ners are the dewberry or running blackberry 
vine, with the colors seen in early autumn, 
when one not infrequently finds the rich ripe 
berry with the green and red in different 
stages of maturity, growing upon the same 
branch with brightly tinted foliage. The 
sumach, with the bunches of deep red berries 
and the brightest possible colored leaves. 
The wild asters and field daisies, the eglan- 
tine and dogwood, are all good selections. 



nggDlg and gi^tis^^- 



Autumn leaves are also effective, and can be 
sketched from the branch, when the stems 
of the leaves are soft and supple. If the 
artist is not ready at the time to finish up 
the subject, the leaves ma\' be pressed and 
used as suggested for the distribution of color 
when opportunity affords. When subjects 



skillfully worked. In several of the chapters 
of " Needle and Brush " will be found out- 
lines of grapes, and sprays of flowers and 
foliage, sections of which can be easily taken 
for plaque decoration. We would suggest 
that, unless the imitation of some piece of 
china or a conventional design be selected, 



r\ ^ '// M P 




FiGURK Nu. I.— Plaque, M(junted on an Easel. 



consisting of fruit, grain, or heavy clusters of the effect is much more artistic if the sprays 

flowers are lo be worked up, it is unwise to come from the edge near the side, inclining 

give too much detail to the heavier portion of to the center and outer edges, rather than 

the subject. The spravs in the foreground, with their stems beginning exactly at the 

may, however, be worked up in strong relief. bottom. If, however, bunches of violets or 

Both oil and water colors are used, and anemone, etc., be chosen, they may be ar- 

each produces equally gratifying effects if ranged in one, two or more groups of different 



NeeDL© AND BRasH. 



231 



sizes showing tlie tuft of foliage at the bot- duced by the introduction of powdered glass, 

torn with the blossoms extending in a natural or, diamond dust as it is called ; this is dis- 

wav as they are often taken from the soil. tributed as a frosting upon the surface of the 

Birds, butterflies, bees and different insects picture. 

are always in order, and in the country one Bunches of pears, a branch of brilliantly 

is never at a loss for natural subjects. The colored crab-apple, or of deep rich purple 




Figure No. 2.— Traii.ing-Arbutus Design for a Plaque. 



owl, which seems to be an undying popular 
subject, can be easily traced from the outline 
illustrated on another page of " Needle and 
Brush." 

Heads, landscapes, snow scenes, etc., are 
pretty subjects for plaques, and permit of 
strong and artistic effects. When winter 
views are chosen, a frosty effect may be pro- 



plums, form pretty fruit subjects, while the 
nodding heads of the finer grain, such as oats, 
barley and wheat, and ears of corn in their 
many colors of red, yellow and brown, thrown 
into relief against the husk, with its delicate 
manilla colors, form pretty subjects for dining- 
room plaques, while for the library or living- 
room, the head of the faithful dog, or pussy 



232 



NeeDLG AND gi^asH. 



asleep upon the rug, a singing canary or other sesses advantages over most other branches 

household pets are suitable. of decorative art in the inexpensive nature of 

A great variety of frames may be made at its requirements. A small wire, wood, or 

home with happy results to serve as a border plush-covered easel is a suitable rest for a 

for the plaques that are made to hang. These, plaque that is not to be hung upon the wall, 

however, are by no means essential, as nearly and a pretty disposal is therefore practicable 




Figure No. 3. — Sweet- Pka Design for a Plaque. 



all plaques are provided with a ring by which in any part of a room where a bit of color or 

to hang them. ornamentation is desired. 

Plaque-painting is in itself a fascinating Sable and camel's-hair brushes are best for 
employment, and any one possessing even a painting plaques and in the application of col- 
modicum of artistic ability may develop it into ors, etc., the same rules which govern their use 
a most pleasing accomplishment. It pos- in other branches of decorative art hold good. 



NeeDLG AND 5f^a$H. 



233 



The four studies which illustrate this chap- 
ter suggest an agreeable variety in the range 
of subjects from which selections may be 
made. Figure No. i is a landscape painted 
on a concave round plaque and mounted on 
an easel, which is draped with a silk scarf. 
Marine views are favorite subjects with those 



artistic device and it is also a good subject 
for a student, as in a single specimen a wide 
range of shades varying from a deep rose-pink 
to a pale white are often observable, while the 
foliage in most instances presents a rusty con- 
trast enlivened only by a few polished green 
leaves. 




Figure No. 4. — Thistle Design for Oblong Plaque. 



who are skilful in counterfeiting the various 
hues which water assumes ; but the amateur 
will do well to avoid choosing too ambitious 
or elaborate subjects in either line. 

At Figure No. 2 a spray of trailing-arbutus 
and a few grasses which might have been 
pulled with it from its hiding-place are shown. 
The flower is one that is very effective in any 



The sweet-pea blossoms pictured at Figure 
No. 3 are among Nature's most beautiful orna- 
ments, and they are especially suitable for 
plaque decoration, because they permit of 
almost any method of posing. 

At Figure No. 4 a design in wayside thistles 
is illustrated. These may be painted in the 
purple and red shades in which they are often- 



'■34- 



Neei:)Le iiND 5i^a$H. 



est seen, with green in two or three shades appearance of the leaves. Very light touches 

tending from dark toward a light yellowish are essential in all the details. Mauve-lake 

tint for the calyx of each. The light fluffy used as it comes from the tubes, intensified 

effect, characteristic of the ball or blossom with rose-madder and paled with white is a 

should be carefully preserved as well as the good color for the blossoms, the added tints 

prickly aspect of the stalk and the horny giving a satisfactory range of shades. 



Jliitunii] Leaves as Decoratioi]s. 



The beauty of autumn foliage as a decora- 
tion is best developed by breaking the leaves 
in small boughs and twigs instead of singly 
from the tree. Press them between old 
newspapers under heavy weights, changing 
the papers every day for three days and then 
on alternate days until there is no evidence of 
moisture from the leaves. Nature's tinting 
and grouping cannot be surpassed, and when 
the boughs are fastened about an arch, above 
pictures, or any place where such a decoration 
is suggested by the available space, you will 
be glad that you did not pick the leaves off, 
one by one. Ferns, grasses, cat-tails, oats, 
wheat or any kind of flora gathered with a 



view to its use as a decoration should be 
dried in a dark place. Mosses, lichens, etc., 
may not show any difference in color, but they 
are less liable to fall apart. A pretty decora- 
tion for a hall comprises a small wooden box 
covered with mosses and lichens gathered 
from stone walls, rail fences, rocks and 
meadows. The box is filled with bracken 
and bitter-sweet and is placed on a bracket 
underneath a mirror. Above the latter are 
boughs of autumn leaves forming a graceful 
semi-circle. The effect of the entire arrange- 
ment is an artistic tribute to the taste that 
designed it, and very beautifying to the place 
in which it stands. 



{•XXX X X X X X X- s^^^-^r^^.^^ .^*^^ X X X X X X X XX j 

v^xxxxx X X X x^v-v v^ v^ ..'^vH'x XXX xxxxx:> 



NSeDLG AND BHtl$H. 



235 




CHAPTER XXXI, 



™ree-f0ld screen and designs F0R de(l0rating it. 



HE screen illustrated at grades. A frame in the natural wood is often 

Figure No. i is com- purchased and stained in imitation of a more 

posed of three panels expensive variety, cherry, walnut and other 

hinged together. The stains being easily made or procured. Gilded 

frame may be pur- and enamelled frames are also admired, and 

chased in a varietv of those covered with plush, velours and other 





Figure No. i. — Three-Fold Screen. 

(For designs in full size selected for decorating this Screen see pages 83fr-253.) 

woods, some of which are especially hand- upholstery fabrics are especially handsome 
some, while others are of the least expensive in rooms where the furniture is in harmony. 




2.37 




23S 




k 



239 




240 



A^ 



^\ 




A 



*^ 



D 



241 




242 




I 




244 




247 




24S 




250 




251 




2 1^2 




253 



254 



NeeDLG AND B^^S"- 



An ebonized frame always associates harmo- 
niously with all varieties of handsome furniture 
and one of pine or maple simply coated with 
shellac or varnish is in keeping with less 
elaborate surroundings. The screen repre- 
sented has an enamelled frame and one of its 
panels is of satin in a deep art-shade of old- 
gold, while the panel on each side of this is 
of the rich, mellow and yet lively tone called 
old-blue. The reverse sides are uniformly 
covered with sateen of the old-gold shade. 
The decoration is hand-painted and is done in 
oil, all the subjects being treated in a bold, but 
somewhat conventional manner. Each design 
is given in six sections in this chapter, the per- 
fected outlines being obtained by bringing to- 
gether the edges marked with corresponding- 
letters of the alphabet. For instance edges 
marked G are adjoining edges and so are 
those marked H. The design may be traced 
on transparent paper, and if the artist be suf« 
ficiently expert to proceed without duplicating 
the outlines upon the material the tracing 
may be pinned upon a large sheet of white 
paper and pinned up within sight for a study. 
Ordinary tissue paper may be used to trace 
on, a rather soft pencil being essential with 
it, and even if the amateur feel the need of 
having the exact outlines transferred to the 
material she may obtain them from it by lay- 
ing strong parchment paper over it, duplicat- 
ing the design in pencil upon the latter, which 
though semi-transparent is quite tough in 
fibre. The parchment paper may be perfo- 
rated with a tracing-wheel or with a sewing- 
machine and the design transferred to the 
fabric with powder or tracing ink. Tissue 
paper is particularly recommended in this 
connection because its texture permits of lay- 
ing it over the page sections without the 
danger of tearing which characterizes tougher 
fibered paper. We would advise any one 



who desires to make progress with each piece 
of work to take each design off by connecting 
the sections, pin it up and then use it as a 
guide in posing, etc., but those who have not 
the time or inclination to acquire the art of 
drawing and cannot lay in the colors without 
having the outlines directly before them may, 
of course, trace the design upon the material. 
The subjects illustrated are effective upon 
canvas, artists' board, or any textile fabric in 
vogue for the purpose and they may be 
painted in water colors as well as in oils. 
Any of the three designs may be selected for 
a single fold screen and the poppies are 
especially effective upon burlaps or matting. 

The order in which the sections for each 
design is put together is the order in which 
they follow each other in the pages of this 
book. For the first design the sections 
marked A and B at their tops form the base, 
as will be at once perceived on observation. 
Then next to these come the sections marked 
respectively A and B at their bases and C 
and D at their tops. The remaining two 
sections perfect the design, being joined to 
the tops of the middle ones at their edges 
marked C and D. 

In the next design the sections marked E 
and F at their tops form the lower portion and 
next to them come those marked E and F at 
their lower parts and G and H at their tops, 
the other two sections marked G and H at 
their lower edges completing the design. In 
the third and last design the base, or lower 
portions, are those marked I and J at their 
tops, and those which come next to them are 
marked I and J at their lower edges and K 
and L at their tops, the remaining two sections 
being of course marked K and L at their lower 
edges. Each design is in the full size required 
for a panel of such dimensions as is adapted 
to any screen of fashionable size and shape. 



NeeDLG iiND SH^S^' 



255 



Levy GY SY 6 Y GY try- oy C5Y &y 5Y 6Y oV ■ 




CHAPTER XXXII. 



DESIGNS F0R DEGBRIT^WE PMRTIMG. 



v!> 




study of Wild Roses for Painting 
in Oils. 

iV this chapter a beautiful design 
for the ornamentation of a panel, 
a sachet, or any article to which 
■^W"^ such a decoration is adapted, is 
illustrated. It is divided, ow- 
ing to the limitations of space, 
"^•^ into two sections, that are joined 

I to produce the perfected design 

C by bringing together the corre- 

spoiuling edges at the inside margins of the 
two pages upon which it is illustrated, these 
edges being designated by the letters E and 
F. The following colors were used in paint- 
ing the design : Kremnitz-white, rose-mad- 
der, lemon-yellow, ivory-black, burnt-sienna, 
chrome-green and emerald-green. The entire 
design may be first sketched or stamped 
upon the material (provided the worker does 
not feel competent to proceed without this 
preliminary help), and it is then painted in 
Kremnitz-white mixed with a little pale dry- 
ing oil. After this is dry the natural colors 
are laid on the, leaves being painted in the 
two shades of green, with a little lemon-yellow 
added to produce the light tints. The rose 



petals and the pink portions of the buds vis- 
ible between the bursting calyxes are painted 
with rose-madder, cooled by mixing it with 
white. Where the shadows are deepest a 
faint touch of ivory-black gives the desired 
effect. After the parts designated had be- 
come dry the stamens were added with lemon- 
yellow, and the tiny green spot in the center 
of each rose put in with a fine brush dipped 
in pure chrome-green. The retouching of the 
stems and calyxes was done with burnt-sienna. 

While it is not intended to cramp the 
method of students by assuming that the same 
study should always be painted in exactly 
the same colors, amateurs will find the list 
enumerated a safe one to provide for this 
design. If a natural study of wild roses can 
be obtained, which is an easy matter in the 
country, the artist may experiment with her 
colors to bring out the various effects observ- 
able in the growing sprays. Some roses will 
be a deeper pink than others, some will have 
irregular petals and some will have very ten- 
der foliage growing close to that which is 
darker and more advanced in growth. 

A beautiful illustration of the adaptability 
of this design is a screen of olive satin framed 




!S6 




257 



258 



NeeDLG AND BH^SH. 



in brass, with the roses painted in the method 
described. The design is posed near the top 
of the panel and from the largest rose a 
couple of petals have dropped out and appar- 
ently being caught lower down. The effect 
is especially artistic and natural. 



Another instance in which this study is 
developed with pleasing effect is in the deco- 
ration of a linen handkerchief-case which is 
perfumed with rose sachet powder and has 
its edges fringed out to form a pretty finish, 
when they meet at the sides. 



IIJori]ii|g-(5lory Desigii, Faiiited ii| Oils for Decorating a Pl^otograpli-Gase. 



The case decorated with this design was 
made of ecru satin with narrow brown satin 
ribbon laid on to form a lattice or trellis as 
represented. The morning-glories, or, to give 
them their more ambitious Latin name, the 
convolvuli, were painted in the transparent, 
roseate white, in the deep purple and the 
pinkish lavender tones belonging to the nat- 
ural blooms, and the effect when the edges of 
the affair were bordered with metallic cord 
was exquisite. The colors laid on the palette 
for the design may be varied according to the 
natural study or the artist's remembrance of 
the growing blossoms. The purple ones may 
be painted with permanent-blue and madder- 
lake mixed with white and rvory-black, the 
two latter colors being proportioned to pro- 
duce the depth of tone required and raw-um- 
ber and burnt-sienna being employed for the 
shadows. 

The light lavender or violet blossoms may 
be painted with madder-lake, yellow-ochre, 
permanent-blue and as much white as will 
reduce them to the requisite tone. Those 
which seem almost white are usually painted 
in a warm, light gray made of white, yellow- 
ochre, with a little madder-lake and cobalt. 
To produce the high lights and the streaks of 
color which flush the more delicate specimens 
one must experiment. 

Yellow-ochre and madder-lake mixed with 



white are effective for the lights. White and 
light cadmium with just enough ivory-black 
to cool down its yellowish tone agreeably 
will give the shade needed for the streaks in 
some blossoms ; for the pink dashes in others 
madder-lake and white with a little ivory 
black is a satisfactory combination. Cobalt, 
white and ivory-black may be mixed for blue 
shadings, the color being deepened toward 
the edges of the petals. Pink morning-glories 
may be painted with white, yellow-ochre, 
madder-lake and as much black as will 
deepen the tone to the degree seen in nature. 
The vivid markings which distinguish blos- 
soms of this color may be done with light red 
and a little raw-umber. 

Some of the foliage may be painted with 
light cadmium, light red, Antwerp-blue, white 
and ivory-black, and for the remainder mad- 
der-lake, permanent-blue, white-cadmium, 
white and ivory-black, the admixture of the 
latter colors producing cooler tones than the 
former. The stems and tendrils may be 
painted in chrome and emerald-green, dee]?- 
ened with ivory-black and warmed with light 
cadimum, Antwerp-blue, and burnt-sienna 
being used \vhere shadow effects are desired. 
In making up the case the edges are pro- 
vided with tasselled cords, which tie them 
together. 

The trellis may be painted in wood tints or 




259 




i6o 



NeeDLG AND B^^^S^- 



261 



simulated wilh metallic cord instead of with D, in order to perfect the size. Of conrse the 

ribbons. design may be used for the decoration of ? 

The two sections composing the design are variety of articles, which will suggest them- 

brought together at their edges marked C and selves to those interested in such work. 



Drapery Erii]ge. 



Beautiful effects in upholstery are produced 
by the use of fringes with deep, netted 
headings from which tassels or pompons are 
pendent. Such fringe is expensive when pur- 
chased ready for use and adds largely to the 
cost of articles that are decorated with it in 
the shops ; but as the materials for its con- 
struction may be purchased and the making 
done at home the expense may be much re- 
duced by any one who is willing to bestow 
a little time on its manufacture. A very hand- 
some variety is made of silk cord and chenille 
with tassels that are partly of lambs'-wool, but 
at first sight appear to be all silk. The home 
fringe-maker will find the simplest method of 
procedure as follows : 

Ascertain the length of the piece of fringe 
needed and cut a piece of flat fringe-gimp 
to correspond. To this at regular intervals 
sew pieces of silk cord, which should be as 
long as it is desired the fringe shall be deep 
when completed. An inch to an inch and 
a half between these cords provides for an 
effective netting. After the cord is firmly 
attached, begin to form a diamond-shaped net- 
ting by bringing every two adjacent lengths 
together about an inch from the top, and fasten- 
ing them with a few stitches done with a nee- 
dle and strong thread. Continue the netting 
as far down as the length of the cord will per- 
mit and then finish the ends of the cords with 
tassels, which may be purchased or made at 
home according to any of the methods illus- 



trated and described in the chapter on fringes 
in "Needle-Craft." Before adding the 
fringes, however, the stitclies which form the 
netting should be concealed by being over- 
wound with fine silk cord, chenille or crewel, 
according to the material chosen for the fringe 
and the degree of richness it is desired to in,- 
part to it. Considerable variety in the arrange- 
ment of the tassels is possible. Each cord may 
be tipped with a tassel or the ends of each two 
adjoining cords may be brought together to 
complete the netted design and be concealed 
under a tassel. Sometimes the sections of 
cord will vary in length in regular alterna- 
tion, so that a short tassel will swing between 
two long ones. If a fringe is required to 
arrange about continuous curves, or to carry 
about any article that has many corners or 
angles, the network should be quite open and 
not too deep. Such fringe forms a beautiful 
border for a mantel shelf, for the base of a 
handsome chair or sofa or for any article of 
furniture that permits or requires such a dec- 
oration. 

The difference of cost between the product 
of the home manufacturer and that purchased 
at the shops is considerable, while in ap- 
pearance there is little or no difference if the 
work is neatly done. A moss heading or a 
handsomer gimp than serves for the founda- 
tion, provided the latter is not a suitable com- 
pletion, may be sewed or tacked on for a 
finish. 






mw© — 



262 



NGGDLG ilND BH^s^- 




CHAPTER XXXIII. 



Design In Kensington Painting: Bwls on a Branch- 

HE wise-looking birds chosen side upward, and should be placed firmly 
for this study are favorite upon the goods and drawn with light, yet 
^f ^"^ selections with amateurs in secure, touches. Should the pen turn over 
M bird-painting, and they are excel- and deposit the paint in a heap do not 
lent subjects for practice. As here attempt to take it up, but draw the pen 
represented they are well adapted to through it, as if painting, until it is distributed, 
the decoration of blotters, station- These owls are of the large brown and white 
ery-cases, banners, lamp-screens, etc. The variety. The coloring of the breast feathers 
method known as Kensington painting is is produced by mixing Vandyke-brown with 
much favored for such subjects. It is done white and a little lemon-yellow. Occasion- 
as follows : the design is first sketched or ally a feather of pure brown is painted, and 
stamped upon the material, and then the the wings are principally white, a mottled 
colors necessary are prepared upon the effect being obtained by drawing short pen- 
palette. Upon some materials they may be strokes of brown through them. The tails 
used just as they come from the tube, while are made very dark with ivory-black, and 
on others, velvet or plush, for instance, many have a smoother effect than the wings and 
prefer to add a few drops of turpentine to breast, owing to their longer and fewer feath- 
each color as it is taken out upon the palette, ers. A small brush may be used to lay the 
A strong writing pen, preferably one of the color on the bills, Vandyke-brown being used, 
long, stiff bank -pens used by business men, Around the heads and faces considerable 
is used to do most of the painting. To do white is used, the male owl having darker 
the painting fill the hollow of the pen with markings which are painted with yellow and 
])aint, wipe off the back and proceed to paint brown. To bring out these points well a 
the most striking features of the birds, draw- single feather here and there may be painted 
ing the pen toward you with firm even strokes quite dark, but the effect is marred if the 
so as to cause the nib to spread and form the whole head be very much darkened. The 
feather stroke which is characteristic of the work on the claw^s is best done with a strong 
method. The pen is held with the hollow but fine pen, using Vandyke-brown livened 



264 



nggDlg -rkb Bi^as^' 



with yellow. The eyes are large and nearly 
all white. They are painted with a fine 
brush, which is held almost straight up and 
down. The brown spot in each is put in 
after the white has become dry. The branch 
may be painted with Vandyke-brown mixed 
with a trifle of white and yellow, and the 
leaves may be done in chrome-green light- 
ened with emerald-green, the veining being 
done with Vandyke-brown lightened or deep- 
ened according to the play of light and shade 
sought. A coarse pen or a fine brush may 
be used for the leaves and branch. If a pen 
is used for the leaves the strokes should be 
made so as to imitate stitches, it being from 
the resemblance to Kensington embroidery 
that the method takes its name. The out- 
lines having been covered the pen is drawn 
toward the center in the same direction as 
stitches would be made. All the shades nec- 
essary to produce the tint or tone desired 



may be thus applied, and the same method 
is followed, no matter what size of leaves or 
petals are being painted. Very large leaves 
may be more quickly done by laying on the 
color inside the outlines with a brush and 
scratching it with a pen afterward. When a 
very slightly roughened surface is desired, a 
needle may be used to do the scratching, 
which is imitative of embroidery. There is 
a " knack " in counterfeiting the embroidery 
effect which can however be easily acquired. 
It is wise to allow the work plenty of time to 
dry as the paint is necessarily laid on thickly 
and deposits itself in little rolls which crack 
if disturbed while damp. 

All varieties of birds, flower-pieces, fruit 
and foliage designs may be painted in Ken- 
sington style with good effect, and as the 
work may be done rapidly it is very fasci- 
nating for those who like to see their impres- 
sions take rapid shape. 



JI Coiwei^iei^t Srifle. 



It is a little box lined with rubber cloth or 
oiled silk, and covered on the outside with 
imitation leather, heavy paper, canvas or any 
material that looks well and is not too frail to 
withstand close packing in satchel or trunk, 
because the box is designed to hold brushes 
and blacking, or dressing for the shoes. A 
catch that will keep it securely closed when 
its contents are not in use, is essential, and if 
a box possessing such an attachment is not 
available, a small leather strap with a buckle 
may be tacked firmly to the back to take its 
place. Even if the liquid shoe-dressing be 
packed in such a box, the possessor's mind 
may be at ease, providing she lines her box 



with some material impervious to moisture, 
and takes the extra precaution of laying above 
and below the bottle a layer of wadding to r b- 
sorb the liquid in case the stopper should be 
jostled out of place. A case for holding this 
requisite, which is easily duplicated, is merely 
a small pine box having its cover arranged to 
slide in grooves. The lining, which is a piece 
of rubber gossamer, is held in place by thumb 
tacks, and the outside is stained with cherry 
stain. Upon the cover the words " Shoe 
Dressing " are wrought with small brass- 
headed tacks. A strap and buckle, relic of a 
worn-out shawl-strap, impart additional se- 
cnritv to the position of the cover. 



*£l^;V. < X X X X X X X X > .//^^^ 

'"X-— " '^"- '' ~-'"^"~-' ' - ' ^ '^'J--' '-'^ ^ ' ^ ^-^ o^j ' '^ ' -^ ' i^ g>fc,^ * 



NeeDLG fiND BR^SM. 



265 







CHAPTER XXXIV. 



vl 



Autanin-Lreaf Design for Enibrsidering or Painting. 







UITE as much appreciation for 
artistic effects may be indicated 
with the needle as with the brusli, 
"^W"^ and this design is particularly 
adapted to the development of 
realistic effects in embroidery, 
though its value as a design for 
painting in oils or water colors is quite as 
apparent. In the chapter entitled Flower 
Painting in Oils the method of tracing and 
transferring any design is explained, and 
assuming that this has been stamped upon a 
piece of olive-green sateen and is to be 
worked with crewels we will select the most 
desirable colors for it. Taking for a study a 
maple tree in autumn as it bursts into a blaze 
of gold and red, with here and there a green 
leaf left to remind the beholder from what 
cool, umbrageous shades the change has pro- 
ceeded, we find that though the effect is gor- 
geous its splendor is brought out with the aid 
of many sober accessories. As our embroid- 
ery is to be painted with the needle we will 
choose a good medium for the work. Noth- 
ing could be better than the fine crewels 
which are procurable in all known shades, and 
of these we will select the full range of olive 
browns, giving the balance in favor of quantity 



to the lighter and deeper tones, but not ignor- 
ing the middle tones altogether; of the reds 
we will select a fair proportion of the vivid 
shades, gauging the quantity by glancing at 
the natural study or a branch from it, some of 
the deeper tones and a little that has only the 
subdued glow of red in it. Turning then to 
the yellows and comparing them with olive 
browns we decide that the shades we want 
are the sunny, brilliant tints, those correspond- 
ing to aureolin tints in water colors. The 
olive greens we pass by, not because they are 
not valuable, but because they run too quickly 
into the shade of the background. Lastly a 
small quantity of leaf green, not the green of 
the tender foliage in early summer nor the 
rusty hue of that which clings latest to the 
branch, but the ripe, yet subdued shade sug- 
gested by the green tints that mingle with the 
changing foliage. By observing the natural 
bough groupings of color will suggest them- 
selves, but some discrimination and allowance 
for the different light in which the embroidery 
will be placed, must be made. If it is to be 
placed in a dim light the outlines of the 
leaves may be boldly " sketched " with the 
strongest shades, the fainter tints being used 
inside of them. This method will preserve 




rdl 



266 




267 



268 



NeeDLS AND B^^S^- 



the outlines and give distinctness to the 
design, whereas if the embroidery is to 
occupy a prominent position in a strong light 
the effect of delicate shading will be more 
admired than boldness of outline. The 
shading of the drawing suggests the position 
of the deepest and brightest colors. Where 
two or three leaves in bright colors come so 
near together that their individual outlines 
are in danger of being obscured by the mass 
of color a leaf or part of one may be worked 
in dark cool green, broken by stitches of light 
olive brown that suggest the beginning of the 
turning process. Here and there a dark spot 
may be counterfeited by grouping short 
stitches of dark brown. The work should be 
done from the margin toward tlie centers, but 
a little practice will enable the worker to 
make the return stitch without carrying the 
crewel back to the starting-point underneath. 
The knack of doing this is worth acquiring in 
view of the rapidity with which chenilles, silks 
and arasenes disappear when a large design 
is being worked. The veining is done with 
darker shades than the body of the leaves and 
like the branch and stems should all be 
worked one way — that is with the stitches 
proceeding in a uniform direction. As the 
work progresses it may be viewed from a dis- 
tance to note the effect, and the high lights 
subdued or the darker tones lightened by 
juxtaposition with darker or brighter tints. 
The entire range of olive greens in crewels, 
silks, chenilles, and all embroidery materials 
may be used with advantagi; in embroidering 
foliage upon any color that is not itself of a 
green which is too easily assimilated with the 
applied colors. There should, of course, be 
harmony, but when the decoration is not 
sufficiently contrasted with the background 
the effect is apt to be monotonous. In em- 
broidery as in painting the exact hues of the 
natural flower are not to be too closelv copied. 



but these hues as they aie affected by dis- 
tance, atmosphere and other conditions. 

Except in a design where a great many col- 
ors are needed to produce a desired effect it is 
best to avoid introducing a conglomeration of 
colors. A color that forms a friendly back- 
ground to one shade may destroy the beauty 
of another, though both may represent tints 
found close together in Nature, who, however, 
sets her gems as no master in all the arts can 
hope to equal. Green and blue in solid 
masses are colors that the needle artist will 
do well to avoid. The secret of using green 
she may hope to learn with experience, but 
the cold, unresponsive tone of the blue she 
cannot overcome. Nevertheless, light feathery 
foliage, embroidered as if growing from the 
ground and starred by the tiny blossoms of 
the forget-me-not, constitute one of the most 
effective decorations that can be worked on 
browns and sage greens. The neutral gray 
and ecru shades of canvas and linen are 
receptive to pink and all red shades, and the 
deeper browns are in sympathy with gold, 
maize and their various kindred. Let the eye 
assist the worker to formulate a scheme of 
color, and then having selected the tints and 
tones composing the harmony, study the play 
of light and shade to determine how to use 
them. In a repeating design, such as would 
be employed for a mantel-drapery, or a bor- 
der of any kind, avoid a monotonous repeti- 
tion of just the same shades of color at 
regular intervals, as such an arrangement is a 
foe to artistic results. Purple and lavender 
shades such as are found in wisteria, pansies, 
lilacs, etc., are not easily applied to any colors 
save black, white and light yellow, though 
occasionally superior artistic taste develops a 
symphony in color, in which these shades are 
harmonic links between strongly contrasting 
tones. The improvements in dyeing fiax 
threads which have recently been made place 



NeeDLS AND si^as^o -^9 



them little, if any, below silks in the artistic united at their edges having doited lines and 
scale and they are used with most successful marked a and b, and the design will be found 
results for conventional embroidery upon can- an effective one for screens, banners or any 
vas, crash, burlaps, linen, sateen, jDongee and article to which such a decoration is adapted, 
similar fabrics. It is as has been previously suggested, quite 
The two sections composing the design of as well adapted to painting in oil or water col- 
autumn leaves given in this chapter may be ors as to embroidery. 



JI Pretty Clock-GasCo 

It presents a very effective contrast, may be held in place with the tiny tacks used 

brought out by using fancy-headed nails for this and similar purposes. All the outer 

upon a background of ruby plush, but its edges having been secured with these tacks, 

foundation is only a cigar-box, with a round the face of the box is decorated with orna- 

opening cut in it, through which is visible the mental tacks having star-shaped heads, their 

face of a little nickel-plated clock, such as arrangement simulating a pretty scroll design 

may be purchased for a small sum. The around the opening. Sometimes a second 

opening must be a perfect circle, and the box is covered, and set flatly for a base upon 

plush, to look well, must be smoothly applied. the shelf or table supporting the clock, and 

To fit it around the circular opening, it should the clock cover or case is set in an upright 

be slashed crosswise and lengthwise through position upon this. The ornamentation may 

the center, the slashes extending almost to be embroidery or painting instead of the 

the margin of the opening, and short slits brass-nail work, but the latter is just now 

being made between them to permit of draw- much favored for decorating almost every 

ing the margin of the plush inside, where it article of furniture, both large and small. 






270 



NeeBLS AND 5i^a$H. 




CHAPTER XXXV. 



SKET^CHING IN mMM G0L0RS. 




VERY one who possesses the artis- 
tic temperament knows the fas- 
1^' ' cination of sketching in water 
colors, but the number of those who 
comprehend the requirements of a 
well-finished sketch or master the art 
of water-color painting is comparatively few. 
The novice who fails in this branch of art 
may develop considerable skill in oils, but the 
fact does not argue that permanent and satis- 
fying effects are not attainable in water 
colors. 

This chapter is written for the benefit of 
students who are not so fortunate as to hav^e 
a good teacher always within reach, and in it, 
therefore, such details as will be of advantage 
to them to understand will be considered, it 
being too often the case that much valuable 
instruction which might be made quite as 
available to the novice as to the more 
advanced student, is lost to her through 
aml)iguity of expression, or the use of tech- 
nical terms understood only by the habitues 
of the studio, A natural study is the best 
guide, though the novice, untaught in the use 
of colors and the handling of the brush, may 
gain valuable practice by copying a few good 
sketches or bringing out in colors the possi- 



bilities of a black and white drawing. Having 
acquired this practice contentment with mere 
copying cannot exist in the same mind with 
the true artistic spirit ; but a great deal of 
time and the waste of materials may be pre- 
vented by acquiring facility in the use of 
the brush and firmness as well as delicacy in 
the application of colors. Such knowledge 
cannot be acquired at once, but the novice 
has made some progress toward it when its 
importance has been comprehended. The 
paraphernalia for sketching out of doors may 
then be prepared, and the pupil may proceed 
to study under the tutelage of the best 
of all teachers — Nature. In preparing for 
outdoor work, a sketching stool, which, when 
unfolded, also forms an easel, is desirable. 
Such a stool is not expensive and, with an 
umbrella having a handle that may be stuck 
in the ground, is among the indispensables of 
a sketcher's outfit. Of course there are within 
the mental vision of almost everybody spots 
where the artist may obtain delightful views 
for sketches without the necessity of leaving 
the shadow of a vine-covered porch or spread- 
ing tree ; but we have mentioned the stool, 
easel and umbrella because of their value to 
the student who hopes to progress beyond the 



NeeDLG AND Bi^a$H. 



271 



boundaries of the cool and shady retreats 
where the dilettante loves to linger. 

A sketch may be brilliantly sun-lighted, 
without compelling the artist to endure the 
glare of the sun. Indeed, no one should work 
with the sun shining directly upon the draw- 
ing, as such work is fatal to a correct repro- 
duction of the play of light and shade which 
dominates all color effects. There is another 
objection, by no means the least serious, to 
working with a flood of white light upon the 
paper, and that is its effect upon the e3-es ; 
blindness and headache are its consequences. 

Whatman's thick imperial paper in quarto 
or octavo blocks is a good selection for ama- 
teurs for their first lessons in out-of-door 
sketching. It is easiest to gain a free and 
uncramped method by accustoming the hand 
and the eye to deal with dimensions that tend 
toward neither extreme. The same regard 
for a happy medium may be advised in rela- 
tion to the texture and finish of the paper. 
That eminent authority on the principles of 
water-color sketching, Penley, advises a 
medium texture for the first efforts of the 
amateur, though he praises the rough paper 
(ninety pounds to the ream) for its receptivity 
to large washes and its adaptability to broad 
treatment ; but even this, he argues, is most 
satisfactory when procured in a moderate 
degree of roughness. His observations are 
veriiied by the experience of all water colorists 
and are briefly summed up in the following 
remarks : fine-grained papers are most desir- 
able for small sized sketches in which details 
are minutely treated, while the coarser varie- 
ties are more desirable for larger sketches 
and for work in which detail gives way 
to broad and bold treatment. Quoting 
directly from Penley, whose influence the 
writer gratefully acknowledges, the choice 
of papers may be made with the following 
hints in mind : " In speaking of papers, of 



course much depends upon the style and man- 
ner of the sketcher. Some may be extremely 
careful in their drawing, attending to every 
detail, and thus produce a faithful rendering 
of the scene. Others may be so charmed 
with color as to generalize the accuracy of the 
drawing, and only represent their impression 
of the landscape by some peculiarities of har- 
monizing and contrasting tones. Many, 
doubtless, will combine the two without 
neglecting either, and thereby transmit to their 
papers the most agreeable and recognizable 
effect. It matters but little in what style the 
drawing is given, provided the mind has been 
employed upon the work and a due share of 
careful handling exhibited." 

The italics are our own, and the words 
italicized are emphasized because they sug- 
gest one of the most important facts which the 
artist must master, and that is that it is the 
artisfs impressions and his method of trajismit- 
ting them which constitutes the special advan- 
tage of the drawing. The best paper and all 
the colors known to the artistic profession 
cannot overcome the effects of weak or 
slovenly handling. The amateur will learn 
by experiment that very light boards will warp 
under heavy washes and even cockle under 
slight moisture, and that those having a posi- 
tive tint are inimical to the life and brilliancy of 
some transparent colors, and will finally arrive 
at the conclusion that it is inexpedient as well 
as inartistic to rely upon any fancied effect 
which the board may impart through its text- 
ure or color to the sketch, save in their general 
harmony and receptivity to the impressions 
that are to be transmitted to it. White paper 
is by all means the best choice for colored 
drawings. 

Black lead pencils, H B, B and F, 
comprise the grades usually required for 
medium smooth and rough papers. Black 
sable brushes are commendable because of 



272 



NSeBLS AND 5H^S"« 



their durability and also because of their com- 
bined firmness and flexibility. A large flat 
brush is sometimes needed, and it is well to 
include it in an outfit, but the amateur should 
beware of depending on it for laying on color. 
Its proper function is for wetting the paper 
and laying on large washes. The swan quill 
is useful for putting in cloudy and atmospheric 
washes in raised distances, but its use is only 
advisable in small sizes which are not liable 
to become overcharged with color when indi- 
viduality or detail is to be strongly brought 
out. While the student must avoid the gen- 
eral use of the very small sizes in brushes, it 
is well to have one or two very fine ones. 
The times for using them will be suggested 
by the progress of the work. Some blotting- 
paper to absorb moisture and such receptacles 
as are planned with reference to the preserva- 
tion of the articles in use are essential. 

Now for the color-box. It may contain 
from twelve colors up to almost any number 
coming within the range of the color-men's 
discoveries. A box containing the colors 
which a sketcher is likely to need for subjects 
including both land and water views may be 
stocked with the following : yellow and brown 
ochre, raw and burnt sienna, crimson-lake, 
light-red, aureolin, cobalt and Antwerp-blue, 
gamboge, Indian-yellow, Vandyke-brown, 
Sepia, brown-madder, indigo, and Naples-yel- 
low, vermilion, Chinese-white and blue-black. 
The properties of these colors may be briefly 
explained with advantage to the novice. Yel- 
low and brown ochre are each much esteemed 
in water-color painting. The yellow ochre is 
often used for a fundamental tone and enters 
into the composition of almost all shades of 
gray, ])roducing in combination with cobalt 
and lake the tints frequently seen in clouds 
and reflected in water, and on the sides of 
hills. The combination mentioned may be so 
proportioned as to be used for near and far 



distances and for effects in which soil, wood 
tones (such as are seen in old buildings, 
fences, etc.) are desired. 

Brown-ochre is more dusky, and as its 
name indicates it is of a brownish hue. It is 
valuable in painting broken ground and for 
any subject where deep, dusky tones are 
required. 

Raw-sienna is a most agreeable color to use 
sparingly, and is considered a natural ally of 
lake in landscape painting. It is a warm but 
broken yellow, and judiciously used it yields 
transparent tones which are full of life and 
brilliancy. Burnt-sienna has an equally wide 
range of usefulness, and is even more in 
request than its uncalcined relative. It com- 
bines well with all tints used for foliage and 
foregrounds, and possesses the special advan- 
tage of not losing character when applied in 
light washes ; it may also be applied with con- 
siderable depth without overshadowing less 
assertive tones. 

Of crimson-lake it must be admitted that its 
lack of permanence places it second to rose- 
madder when spirited effects in light tones 
are required, but it possesses a place in the 
color-box which no other color can usurp. It 
assimilates admirably with gamboge, and these 
two colors, with the addition of indigo, pro- 
duce soft, gray shadow tones. 

Light-red is used by itself more frequently, 
perhaps, than almost any other shade of red. 
It is also mixed with blue and indigo for 
atmospheric effects, and with brown-ochre and 
Antwerp-blue for roads, banks, etc. 

Aureolin is one of the most valuable of 
yellows in water-color painting. It is clear, 
transparent and permanent, and may be em- 
ployed in producing every shade of green. It 
is useful in sunset tints and sky effects, and, 
indeed, in all landscape work. 

The merest amateur soon learns the value 
of cobalt, which has to be replaced oftener 



NeeDLG AND gl^tlSH. 273 



than any other color in the box. It enters buildings, shelving ground or any eminence, 

into all grays and is indispensable in giving it is likely to be used and may be counted 

the vaporous, far-off tones, as well as the more upon, in combination with yellows, as an ex- 

langible effects of middle distances. cellent color for changing foliage, while in the 

Antwerp-blue possesses a vividness and lingering warmth of sunset reflections, its 

body which make it a valuable ally to the glow may often be traced. 

siennas, ochres and crimson-lake in producing Indigo does not enjoy the prestige of beino- 

the depth of shade concentrated within small a permanent color, but it is the landscape 

limits in middle distances. Its abuse is to be artist's vade t/tecum in many instances. It is 

guarded against. useful in imparting the purplish gray shades 

Gamboge may be called the foliage and which envelop the horizon when the daylight 
herbage color, because it may enter into all is leaving, and it is also permissible under 
shades and tones seen in either. It may be certain conditions in foregrounds, 
mixed with burnt-sienna and indigo to pro- Naples-yellow often takes the place of all 
duce deep, luxuriant greens, and with Van- other yellows in producing the distinct but 
dyke-brown and indigo for cooler shades. It floating lights which are perceptible in ex- 
is also useful in bringing out the brilliancy of treme distances. It is also, by admixture 
sun-touched foliage. with cobalt and rose-madder in varying pro- 

Indian-yellow is often used for foliage portions, according to the depth desired, ap- 

painting in conjunction with indigo and predated for soft air-tones which are more 

burnt-sienna, and it has this advantage over like a luminous haze than anything else, 
many of the yellows — of looking light, even The artistic value of vermilion has been 

when used thickly. It is for this reason attested by many artists whose works li\e 

liked for figure painting, or such portions of after them, but it must be judiciously used to 

figures as call for yellow tones. make an agreeable impression. It is apt to 

Vandyke-brown is a color in much demand precipitate unless applied quickly, and is 

for foregrounds, and also enters into the tints most satisfactory when used where the effect 

seen in trees ; for the latter it mixes well with sought permits of laying it on pure. It is 

gamboge and indigo. a color which the student can only hope to 

Sepia is another of the colors most used in learn the values and dangers of with time and 

foregrounds, and wherever deep, warm or study, but, for all this, it is essential to 

cool, permanent brown tones are in request, certain effects which no other color will yield. 
Mixed with rose-madder and cobalt, it gives Perhaps there is no color whose use is so 

warm, cloudy, but not muddy, grays; with belittled as Chinese-white. It is an excellent 

lake and indigo it produces the color which is body color, and mixes with all other colors 

sold as " Payne's gray," and which is use- without impairing its free working qualities, 

ful for rocks, water in shadow and still-life It may be laid on in thin washes or in heavy 

subjects. touches, but beginners who make choice of 

Brown-madder is a general utility color, thin board or paper should beware of resort- 

which by being mixed with other colors be- ing to it unnecessarily to fix oi- hold thin 

comes tender, strong, brilliant or subdued, washes, because, thus used, it is apt to detract 

according to the power of the supplementary from the clearness and transparency which 

color. Where warm shadows are seen on the artist is striving to attain. 



274 



NeeDLG AN© s^asH. 



Blue-black is a valuable color to use in 
breaking greens and deepening graj's. 

The amaieur, having obtained whatever 
general knowledge is practicable on the sub- 
ject of color (such knowledge, as has been 
previously stated, being facilitated by the prac- 
tice acquired in copying some good sketches), 
may proceed to choose a subject from Nature, 
but should beware of undertaking too massive 
or complicated a sketch. It is best to aim 
at depicting one or two features perfectly or 
at least with a fair degree of naturalness in a 
single small sketch, and then after a few ex- 
periments endeavor to bring contiguous ob- 
jects into proper relation in a larger sketch, 
than to attempt too much and become dis- 
heartened, because of failure to represent a 
multiplicity of objects properly. Perspective, 
form and color are distinct branches which 
must be studied separately and together. 

The eye is too often caught by grand and 
impressive objects, before the mind has be- 
come trained to comprehend the method of 
suggesting their grandeur and impressiveness 
within the scale which they must occupy upon 
the board, and the result is defaced by the ap- 
parent exaggeration of the most prominent 
feature and the dwarfed appearance of others. 
To obviate such results, let the novice select 
for first efforts a subject not too markedly 
conspicuous, but possessing enough variety to 
make it interesting. A glimpse out of doors 
in any direction will reveal such studies in 
infinity. However simple the view may ap- 
pear, the student must endeavor to represent 
it with fidelity and with reverence and love 
for the great teacher whose works are the in- 
spiration of all true artists. 

Supposing that the sketcher selects for 
representation a landscape with water in 
the foreground, mountains or mountainous 
elevations in the distance, their altitudes 
being broken and gradually reduced in the 



middle distance, and the foreground nearly 
level. There will of course be some verdure, 
and the scene will hold infinite possibilities in 
air and cloud effects, but it is as simple a 
theme as can be suggested for adequate prac- 
tice. Its clouds and mists, its play of light 
and shade will vary with the daily round of 
the sun, but the relative positions of the ob- 
jects which compose the scene are unvarying. 
Consequently, they are among the first points 
for the student to determine and locate in the 
drawing. This may be done very faintly, and 
yet with sufficient permanency to serve as a 
guide for the untrained sketcher, by first 
marking the right lines which designate the 
principal objects. The horizontal line is 
easily located, and so also are the water-lines, 
but the fact that Nature delights in curves, 
and apparently abhors angles and straight 
lines, will soon dawn upon the student. The 
careful observer will notice how gracefully 
even in her grand and stupendous forms, she 
leads up to or recedes from absolutely hori- 
zontal or straight lines, and the smallest 
sketch will afford ample opportunity for 
studying her infinite variety. 

In order to train the vision to locate cor- 
rectly the positions in the sketch of the vari- 
ous features, the student, having determined 
the line of the horizon, may obtain a reliable 
idea of the relative positions of other horizon- 
tal objects, by holding the brush or pencil 
horizontally on a level with the eyes, and, 
closing one eye, focus the other upon the ob- 
ject whose location is to be determined ; its 
position may thus be easily compared with 
the line of the horizon. This simple expedi- 
ent will aid amateurs in establishing relative 
distances and elevations ; and, by holding the 
brush or pencil perpendicularly in line with 
the most prominent perpendicular object, the 
relative positions of less prominent features 
may be accurately estimated. 



NeeDLS AND BH'^SM- ^rs 



In order to avoid jaggedness and what may of course, presupposes that the sketch is 

be called a geometrical arrangement in nal- being made within proper range of vision. It 

iiral scenery, observe closely by what grada- is really of no consequence that the herbage 

tions ascents from height to height are made, upon a distant hillside is green, if the play of 

Note all projections, as they are of especial light and shade and the distance at which it 

value in determining different distances, and seems to be, combine to make the effect only 

make upon the paper whatever indications broken shadows and indistinct outlines. It 

are essential to keeping these before the eyes, is an amateurish weakness to attempt to 

Rocks and depressions of sufficient impor- strengthen a sketch by perfecting details to 

tance to add a marked feature to the land- such an extent that all idea of distance is 

scape must not be ignored. Too much study lost. If the novice who realizes a weakness 

cannot be given at this stage. The eye in this direction will resolutely set to work to 

should become well acquainted with the cure herself by rigidly disciplining her percep- 

different features, and the; sketcher thoroughly five faculties, she may take the following 

satisfied that the relative positions of the ob- course of treatment with improvement. Let 

jects composing the view are correctly under- her choose a fiat study of growing grass, seek- 

stood. Having assured herself of this by ing if she may, one that disappears in the 

studying the outlines and comparing them horizon without having its level surface 

with the original, the preliminary washes may broken. She may begin by painting the 

be laid on and the deeper colors added. grass beneath her feet its natural shade of 

Ax. this stage of the work the amateur, if in- green, and follow faithfully the color as she 

terested in the completion of the sketch, is sees it toward the limits which bound her 

apt to sacrifice a great deal to the desire to vision. Before advancing very far her ^^redi- 

see it finished. Against the habit too much lection for absolutely green grass will have to 

can scarcely be said. If the original inten- give way to the effect of air, light and shade, 

tion was to paint a placid lake-scene, with the or else she cannot be said to make a faithful 

mists of early morning disappearing before sketch. The experience gained from a flat 

the sun, the novice can scarcely hope to rep- study of this nature cannot fail to cure her of 

resent the soft, aerial effects essential, except the tendency to paint separately and in vivid 

by faithfully studying them, and until suffic- green each blade of grass growing on elevated 

lent rapidity of execution is acquired to war- ground, presumably at a distance, 

rant her in hoping to transmit such views as In selecting a site for sketching, the artist 

they really are, she will do well to make her should of course endeavor to secure the hap- 

studies at times when the clouds and vapors piest effects. Rugged, angular views may be 

tire less transitional. The trained eye and picturesquely represented upon large canvases 

practised hand alone can represent rapidly in conjunction with objects which afford har- 

fleeting effects, and while the amateur must monious surroundings or contrasts, but for 

cultivate the ability to catch them as they small and medium-sized sketches, views which 

pass, too much must not be attempted at once, represent nature in softer moods and in such 

Another hint that the amateur will find forms as win admiration through their power 

worthy of consideration is this : Paint as the to soothe rather than overawe, are most sat- 

object appears to you; no matter what pre- isfying, and they certainly are most advisable 

conceived opinions you may have of it. This, as studies for beginners. Upon another page 




276 



NGSDLe AND BR^SH. 



!77 



a landscape study in black and white is given, method followed in painting the colored 
and accompanying it is a description of the sketch from which it was engraved. 



STUDY •!• II? •:• mjITE^ •:• COLONS. 



The landscape from which this study was 
engraved was specially prepared for " Needle 
and Brush," and the treatment of the sketch 
is explained at considerable length for the 
benefit of amateurs in water-color painting, 
whom it is intended to aid. 

The subject is a pleasing and fascinating 
one, and one also that permits of considerable 
beneficial practice. In preparing a palette 
for it the colors used were aureolin, cobalt, 
crimson-lake, yellow-ochre, brown-ochre, raw- 
sienna, burnt-sienna, light-red and Antwerp- 
blue. The sky was washed in with aureolin 
and cobalt, the sunset glow of the former tint 
fading imperceptibly into tjie azure hue of the 
cobalt, and a few light, floating clouds break- 
ing the monotony. The clouds are lightly 
washed in with crimson-lake, and the further 
distance is painted with cobalt, aureolin and 
crimson-lake, while the stronger effects and 
less vaporous shades of the middle distance 
were brought out with yellow-ochre, crimson- 
lake and Antwerp-blue. For the foreground 
raw-sienna, burnt-sienna, brown-ochre, Ant- 
werp-blue and crimson-lake were used, while 
for the broken ground, brown-ochre, light-red 
and Antwerp-blue were employed to produce 
the desired tints. 

The water reflects the tints of the sky and 
the shadows of the trees and herbage border- 
ing upon it, but there is no commingling of 
colors which might tend to produce a muddy 
or disturbed appearance. The surface is 
unbroken and clear, and beyond the bend in 
the middle distance there are visible between 



the trees glimpses of it which are quite as 
effective as any feature in the landscape in 
suggesting the idea of distance and the feel- 
ing of openness which impart a sense of 
space and freedom to the view. There is no 
attempt at working up the details of the 
picture. The effect aimed at is brought out 
by positive touches, and in order to achieve 
a similar result the student should consider 
well the relative features of the landscape and 
then make every stroke of the brush serve a 
purpose in reproducing them in colors. A 
great deal more is suggested than is actually 
revealed, and this, it will be well to remember, 
is significant of every branch of artistic work. 

One instinctively feels in looking at the 
sketch under consideration that deep, cool 
retreats may be gained by following the worn 
path and that further on, the purplish mists 
give place to clear, high outlooks, beyond 
which the view broadens into wide vistas, of 
which the scene before is but a glimpse. 

To bring this feeling into a landscape the 
student must first comprehend that while the 
sketch must be kept within the limits laid out 
for it, it must not be treated as if the view it 
represents were, or could be, bounded by the 
size of the board. 

Amateurs who desire to gain experience 
in water-color drawing will find this sketch 
a most desirable one for copying. 

No better means of acquiring a reliable 
knowledge of the use of colors could be sug- 
gested than such a sketch afifords. It may be 
copied many times, without exhausting its 



278 



NeeDLG AND B^^S^- 



possibilities as a study, or the artist's oppor- effects the student will obtain helpful hints 
tunities for helpful experiments ; and by com- regarding their deficiencies, as well as hopeful 
paring the finished sketches with natural inspirations for their improvement. 



njodellii^g ii^ Putty. 



Handsome results are obtainable by the 
exercise of skill and care in this kind of work. 
First stamp the design on a plaque, panel or 
box-lid, whichever you may wish to decorate. 
Then if a flower design is used, stamp it the 
second time on white foolscap paper. Set the 
stamping by holding it before a moderate fire 
two or three minutes. Cut patterns of the 
leaves and petals of the ilowers from the de- 
sign stamped on the paper. 

Add enough linseed oil to the putty to 
make it work perfectly smooth, and roll it 
well with a rolling-pin on a clean pine board. 
Cut the petals of flowers and the leaves with 
a sharp penknife, and arrange them to corre- 
spond with the petals and leaves on the panel 
or plaque. Press down lightly with the 
finger ; then add the stems, cutting narrow 
strips of putty and rolling them into shape for 
the purpose. Make the veins with a darning 
needle. Set the design in a cool, airy place 



until the putty hardens. The luster colors — 
gold and silver — are used for painting this 
kind of work. Pale drying-oil may be used 
to mix the luster, but only a little color should 
be prepared at one time. Paint the leaves 
and stems with gold, and the buds and blos- 
soms with silver. The luster color known as 
"fire" is good for shading and for making 
stamens. Oak-leaves and acorns are very 
pretty in this kind of work. If desired, 
flowers may be painted in natural colors. A 
wild rose design makes a handsome panel in 
this kind of work. The black ebonized 
panels may be used as a foundation. Rose 
madder, white and scarlet-lake should be 
used for painting roses and tips of opening- 
buds, and zinnober and chrome-green for the 
stems and leaves, retouching the stems with a 
little burnt-sienna and veining the leaves with 
the sienna. The latter color may be deepened 
or lightened, according to the leaf represented. 









m^^f^i^w 



NeeDLG ANL) SH^SH. 



279 






:j XX X X X X X X '^ , ^* X X x x x x xx^^ 



. p~ /l^ 'I'v"^ -'/l^" 



CHAPTER XXXVI. 




LUSTOR PAINTING. 



HIS variety of decora- 
tive brush-work is es- 
pecially effective up- 
on curtains, portieres, 
table-covers, etc., and 
a knowledge of it may 
be acquired by anybody who will 
devote to it a little time and study. 
It may be developed upon felt, 
satin, plush, thin silk, linen can- 
vas and indeed upon almost any textile 
fabric. It is done with metallic powders 
mixed with a medium, which is either light or 
dark, according to the color of the powder 
used ; bristle or sable brushes, Nos. 3, 5, 8 
and II, and the usual implements in the way 
of a palette, drawing board, etc. The palette 
should be one with little cup-like hollows in 
it, or if such a palette is not available small 
egg-cups, inverted so as to use their smaller 
portions for mixing the colors in, will answer 
the purpose very well. To this list of essen- 
tials may be added the dry colors used in 
tinting wax flowers, because, though luster 
painting may be done without them, they are 
indispensable to the production of some of 
its finest effects. 

The dark medium used for mixing is simply 



asphaltum varnish, and it may be used for 
all except the delicate and pale colors. For 
these a medium composed of spirits of tur- 
pentine and white balsam of fir, the propor- 
tion being about three parts balsam of fir to 
two parts spirits of turpentine. The novice 
need not, however, depend on her own ingenu- 
ity in compounding it, as both mediums, ready 
for use, may be procured, with all the other 
implements, at the shops of dealers in artists' 
materials. Other mediums are sometimes used 
with temporary success, but those mentioned 
possess the advantage over all others of 
not cracking. They are rapid dryers but have 
sufficient elasticity to hold the powders while 
they are drying. The bronze powders most 
in demand for luster painting are steel, silver, 
maroon, violet, mauve, brown, fire, lemon, 
orange, green in dark and light shades, and 
in a brilliant and also a faded or antique tint, 
gold in a pale, a greenish and a rich yellow 
hue ; copper which is a pinkish hue, purple in 
deep and pale tints, pale blue, dark blue, 
flesh pink which is a medium tint and car- 
mine. These are all labelled on their bottles 
so that no doubt as to the exact color pur- 
chased need exist. The dry colors which 
supplement them most effectively are green in 



NSoDlg ilND SH^S^- 



three shades known as dull, dark-dull and 
light-dull, silver, a dull Indian-red and dull- 
blue. 

Exact rules for combining the metallic 
powders with the dry colors cannot be laid 
down, as in all varieties of painting the sub- 
ject treated should suggest the colors used, 
but in luster painting the natural hues are 
rarely ever followed, though the artistic merits 
of the work are very much enhanced by sug- 
gesting them. Sometimes this can be done by 



of green may be obtained by experimenting 
wilh the various dry powders and metallic 
paints. For bringing out the high lights in 
greens the green-gold metallic paint is effec- 
ti\e. Any of the metallic paints is intensified 
by admixture with its corresponding dry 
color; and frequently shades which cannot 
be produced by any combination of metallic 
paints are easily achieved by substituting a 
dry color for one of the component parts. 
What are known as metallic flitters are 




Figure No. i. — Chair Cushion, Ornamented with Design in Luster Painting. 



combining the metallic powders according to 
their relation to the color sought, but more 
frequently it is attained by resorting to the 
dry colors. For instance, to obtain a deep 
blue metallic tint add dull blue dry color to 
the metallic blue. A^arious shades of red may 
be produced by experimenting wilh dull red 
dry powder and fire metallic powder. The 
dry color mixed with the medium may be 
applied alone where very hea\y shadows are 
desired and afterward lightly dusted over 
with whatever metallic powder is used for the 
high lights and brilliant effects. Any shade 



sometimes used to bring out striking irides- 
cent effects, but their use in connection wilh 
luster painting on textile fabrics is scarce as 
commendable as on pottery painting. If 
desired they may be purchased in green, 
purple, gold, orange, silver, blue and red. 
They are much coarser than the metallic 
powders, and arc dusted on or laid on with a 
fine brush, before the painting is dry. 

In this chapter are illustrated three speci- 
mens of luster painting, one of them being a 
chair cushion in saddle-bag stvle. 

This is illustrated al Fiirure No. i. and is 




28 1 




282 



J 



NGeQLS ilND BI^QS^^- 



283 



made of plush, in a rich golden-brown luie. 
The lining is of India silk and Lhe two 
sections forming the cushion are laced to- 
gether at their tops with ribbon matching the 
lighter tone of the lining. The ribbon lacings 
are run through rings covered with a crochet 
of brown cable-silk, and are bowed at one end 
of the cushion, their ends being tipped with 
small pompons. Upon the front section is 
painted a branch of pears and their foliage, 
the fruit being done in the greenish tones 
seen in the growing fruit with a tinge of red 
upon the high lights. For the leaves darker 
greenish tones were used, a yellowish tinge 
suggestive of their autumnal state being given 
to some of them. The size of the pears and 
leaves composing the design is given at 
Figure No. 2, and the method of painting 
is as follows. The pattern is first stamped or 
outlined upon the goods and the paints are 
laid on with a medium large brush, two or 
three being kept at hand, so as to avoid dip- 
ping from one color to another or having 
to clean too frequently. They are laid on 
thickly, but lightly, any prolonged effort to 
spread or drive them in being fatal to a good 
effect. Only a little paint is taken up on the 
brush when the more delicate parts are to be 
done, but in the design under consideration a 
free and rapid method is permissible. It is 
consequently an excellent selection for first 
efforts. It is a matter of choice whether the 
design be uniformly covered and the high 
lights and shadings subsequently touched on, 



or painted from the margin with the paint 
gradually becoming thinner toward the shad- 
ows, so as to accentuate the latter by partially 
revealing the background. In convention- 
alized floral designs the latter method has 
been found very satisfactory, but for fruit and 
geometric designs the former is preferred by 
many, but in painting on velvet or plush 
the brush strokes should go with the nap — 
never against it. 

At Figure No. 3, a design for a fine 
cluster of grapes is illustrated. It is an ex- 
cellent study for luster painting, and may 
decorate a cushion of the style pictured, or 
any other article to which such a decoration is 
adapted. A curtain to a book-case might be 
handsomely decorated with similar clusters in 
the corner, and conventionalized grape-vines 
minus their foliage running down the sides 
and across the top and bottom. 

Luster painting is often associated with 
flower painting in oils, and when white flow- 
ers are chosen as subjects the effect if artis- 
tically developed is admirable. A scarf of 
gobelin-blue plush, ornamented with annun- 
ciation lilies in a large conventionalized 
pattern, has the flowers painted in all white. 
Upon this body color silver in its white 
metallic form, and sparkling silver are laid on 
with the medium, and in the shadows the 
deeper tones are brought out by the skilful use 
of metallic steel powder. The work was done 
by an amateur, who experimented carefully to 
obtain the desired result. 






X' ■><■ 



^ 



r '^\ ~ Vi - V ■ / " *>■ ^^ -y '^' 



V 



>84 



NeeDLG AND BH^s^- 



^?f^\r ,:S^H ^S^Hi'C^ ;l : 



mm 




^ *J I : : t~ i -?:- 7^^^^. W^ l^^^ 



kP^ 



CHAPTER XXXVII. 



(TRYST^ALI/IZATieN PAIMTIMG. 




.HIS variety of painting, 
though not an entire 
novelty, is more ad- 
mired now than at any 
time in its history, be- 
cause of the resemblance 
to ilhnninated or jewelled glass effects which 
may be developed in it. Two specimens of 
crystallization painting are included in this 
chapter. At Figure No. i a design mounted 
as a fire-screen is shown. The subject is a 
floral one, and includes a bird with out- 
stretched wings, poised upon a branch. It is 
painted on glass, which should be clear and 
free from flaws of every kind. Before pro- 
ceeding to paint upon it, the worker will do 
well to assure herself that it is absolutely 
clean, by polishing it with alcohol and chalk, 
and rubbing it with tissue paper or chamois. 
The design which is to be followed is then 
placed upon a table and the glass laid over it. 
With a fine brush clipped in bitumen, all the 
outlines are accurately traced upon the glass 
and the general effect of light and shade is in- 
dicated by free strokes. Strong lights and 
shadows may be thrown upon the portions 
directly in the foreground or first plane, but 
for those further removed the treatment may 



be more uniform, though they should not by 
any means be thrown into a heavy shadow, 
unless such treatment is essential to the ar- 
rangement. Having given the subject the 
prominence upon the glass which the out- 
lining and the laying in of the shadows pro- 
duces, the unpainted portion of the glass is 
overlaid with a thick coat of bitumen, a coarse 
brush being used for the open, and a fine one 
for the interspaces. Extreme care is neces- 
sary in this stage of the work. The outlines 
should be kept distinct and the glass free 
from soils, as it is the side the painting is 
done on that will be enclosed, and no subse- 
quent treatment can quite obliterate soils or 
finger marks. 

In using the bitumen turpentine is mixed 
with it in greater or less quantities, according 
to the efl^ect to be produced. It may be 
thinned with the liquid to the consistency re- 
quired for the lightest washes, and it may be 
put on as nearly pure as its easy manipulation 
with the brush permits. Between these ex- 
tremes its intermediate gradations are many, 
and they are regulated according to the depth 
and brilliancy of tone which the subject 
treated is to display. Having permitted the 
bitumen ample time to dry, the principal por- 



NeeDLG AND BJ^^S^"^- 



28: 



tions of the design are painted in their nat- 
ural colors. It is immaterial whether oil or 
water colors be used, provided either are of 
the best and are transparent. When a vivid 
effect is desired the colors are laid on quite 
thickly, and as nearly in their pure state as 
may be. The less conspicuous portions of 
the design, such as the stems and branches 
of the flowers, the beak and claws of the bird, 



at a consistency that will give them a semi- 
subdued effect. When the natural colors are 
dry, such portions of the design as are to pre- 
sent a very brilliant effect are varnished with 
copal varnish, and the glass is backed with 
tinfoil or silver paper (the kind that is highly 
illuminated on one side and dark on the 
other), such as underlies pearl buttons upon 
the card, is the best. This paper should be 




Figure No. i. — Fire-Screen, Ornamented with Design in Crystallization Painting. 



are painted with opaque color, ochre, Naples 
yellow, vermilion and lead-white constituting 
a list from which the artist may select those 
ordinarily in demand for such subjects as are 
most admired for this style of painting. For 
the ]-)liimage of the bird very brilliant colors 
may be used, if the bitumen has been applied 



crumpled in the hand and then drawn out 
almost smooth again, and a space of about 
one-fourth of an inch should intervene be- 
tween it and the glass. To prevent the paper 
from impinging upon the glass, place tri- 
angular bits of pasteboard back of the corner:, 
and attach the paper to these, taking care 



286 



NeeDLG AND SRtlSH. 



that it IS adjusted in sucli a way that it will 
not strike the glass at any point. The glass 
is now ready for framing. The fire-screen 
illustrated is framed in a narrow moulding of 
brass, and the standard which supports it is 
of brass. The backing visible outside the 
paper may be wood, metal or a glass similar 
in size to the one painted upon. If the paint- 
ing is to be mounted in the manner repre- 
sented, glass is the most desirable selection, 



lines of gold. The easel which supports it 
harmonizes with the frame. 

A list of transparent colors containing those 
most in request for crystallization painting 
is as follows : aureolin, gamboge, Italian-pink, 
gall-stone, Indian-yellow ; all the madders and 
crimson-lake ; Prussian-blue, indigo and ultra- 
marine ; orange and burnt-sienna; brown- 
madder, Vandyke-brown and lamp-black. 

Asphaltum or any good varnish of the 




Figure No. 2— Design in Crystallization Painting. 



while if it is to be hung upon the wall a 
wooden backing is adequate. 

Figure No. 2 represents some variations in 
the treatment. The design was outlined with 
bitumen, and the lights and shadows washed 
in with diluted bitumen in the manner de- 
scribed, but the un painted portion was 
painted a semi-translucent shade of white, in 
contrast with which the brilliant hues of the 
design present a very effective appearance. 
The frame of the ]iicture is a narrow one, 
enamelled in white, slightly relieved by faint 



grade used for oil painting may be employed 
for adding to the brilliancy of crystallization 
painting. 

Some color mixtures which have been 
tested and found very successful for this style 
of work are as follows : for light green, Ital- 
ian-i:iink and ultra-marine blue; for some 
shades of dark green, indigo is valuable ; for 
others indigo and burnt-sienna may be mixed. 
Roses, which are particularly effective selec- 
tions from the Horal kingdom, may be painted 
in crimson-lake, rose-madder and brown- 



NSeDLS AND BH^S^' 



287 



madder, the most vivid colors being used for 
those that are to appear most conspicuous in 
the drawing. Colors that take a long time to 
dry may be mixed with Japanners' gold size 
and a little turpentine. 

Water, correctly painted, has a very good 
effect in this variety of art. It should be 
shaded with long, straight, broken lines. 



which should be quite dark in the front of the 
picture and gradually lightened toward the 
background. Mountainous or elevated dis- 
tances may be represented with the aid of 
neutral tints mixed with a little white. For 
such subjects only a semi-transparent effect 
is desirable. Glass for painting on, cut to the 
requisite size, is easily obtained. 



^01? T^E TJIBLE.-<' 



An extremely pretty and quite durable 
table-runner, which is the name applied to the 
narrow, oblong mats spread over the center of 
the cover, may be made as follows : Take a 
strip of fine linen sateen about four feet long 
and from twelve to fourteen inches wide ; 
work a design in Roman embroidery, using 
white flax thread for the button-hole stitching, 
and underlay the design with the strong white 
net which in weave resembles coarse Brussels 
net, and can be purchased at all fancy goods 
shops. 

A pretty stand for the coffee or tea-pot con- 
sists of a fiat tile. If you have a taste for 
china painting, you can decorate a few in 
blue, red, yellow or in any of the neutral or 
dull colors now admired for china decoration. 
To beginners in the study, a hint may be 
given, that considerable valuable experience 



in grounding or tinting may be gained by 
making up a few color designs on tiles, and 
noting the effect after they are fired. For 
instance, a tile tinted in four shades of 
blue arranged in a geometric design or in two 
shades of blue, with coral and gray, would 
enable one who contemplated doing a set of 
plates in these tints to judge of their exact 
effect after being fired. 

A pretty set of cups and saucers for choco- 
late is tinted in a warm but not deep 
chocolate color. The decoration consists of 
small branches of cocoa palms, two of which 
are bound together at each side of each piece 
with a golden ribbon, this being bowed in Pom- 
padour fashion at the point of crossing, and 
arranged in a scroll between the palms. The 
latter are painted a dark brown with out- 
linings of gold. 






'.88 



NeeDLG AND 5H^$H. 




CHAPTER XXXVIII. 



PAIRTIHG m miUL 



v!> 




-14. AS;;..^ 



F asked to mention the most 
important precaution for the 
novice in ciiina painting we 
should reply absokite neatness in 
the care of palette, brushes and 
colors ; and we are certain that 
as the beginner progressed in the 
I art the full value of the advice 

i v/ould be understood and appre- 

ciated. Colors must be kept separate until 
the proper time for combining them upon the 
palette arrives, and this can only be accom- 
plished by having separate receptacles for 
holding the turpentine used for cleaning 
brushes and that which is mixed with the 
paint, and by having at hand rags and alcohol 
for wiping brushes upon, and for cleaning the 
palette, etc. This ciiapter, while illustrated 
with designs which advanced artists will find 
adapted to their purpose, is written principally 
for the help it may be to those who must 
obtain their knowledge of the art of china 
painting principally from experience, and who 
desire to reduce as much as they may the 
tuition fees which this teacher usually re- 
quires. To those who have the courage and 
the patience to experiment carefully and per- 



sistently success is sure to come, because 
while there are many perplexing details to 
master, they simplify rapidly if the beginner 
only takes pains to learn the cause of her fail- 
ures. The bugbear of amateurs is the revolu- 
tionizing process which the firing is supposed 
to produce. There is no question but that 
many pieces of china emerge from the kiln 
defaced in ways that are jDast accounting for, 
but the statement sometimes made that the 
decorator can never tell beforehand what 
colors her design will appear in after its trial 
by fire, has no foundation in the experience of 
artists who work with the best colors and have 
their firing done by competent persons. 
Occasionally a doubtful color will emerge 
more doubtful than it went in, and then the 
artist is sure to wish she had subjected it to a 
practical test before deciding to use it in con- 
junction w^ith other colors. 

FA'en if the expense of an outfit is a problem 
which must be settled by limiting the outlay 
to the smallest practical sum, the would-be 
artist need not be discouraged, as several 
colors, brushes, oils, a palette knife and a 
glass palette may be procvued for less than 
four dollars. Dealers in artists' materials 



NeeDLS ANi:) gi^asH. 



289 



may usually be relied upon to till an order 
according to the specifications given them, but 
if requested to send what they consider a nec- 
essary outfit will almost invariably advise one 
costing a sum far in excess of that mentioned. 
The cost of each item has not been specified 
in our estimate because it varies in different 
localities. In this instance we have given the 
ao-rrj-egate in figures which would cover the 



yellow and mixing yellow ; the brown 
which is catalogued No. 4 or 17; pearl-gray 
No. 6 and ivory-black. Our expenditure of 
four dollars includes six camel's-hair brushes, 
two or three of which may be very fine, one 
flat black one and two medium sized ones, A 
bottle of what is technically called fat-oil is 
also provided for by this sum. The turpentine 
and alcohol are local commodities for which 




Figure No i. — Rose Jar. 



cost in New York and probably in most cities. 
It includes a dozen colors selected from the 
list of Delacroix colors, and these will be found 
sufficient for the requirements of the beginner. 
They are chrome water-green which is a ground- 
ing or tinting color; carnation No. i which is 
one of the most satisfactory and adaptive of 
the reds, deep red-brown ; brown-green, emer- 
ald-green and dark-green No. 7 ; ivory- 



no estimate has been made, and it is pre- 
sumed that the decorator has at hand lead 
pencils, a pen-knife and a few cheap tiles. It 
is upon these latter the experiments in colors 
are to be made. Do not attempt the slightest 
thing in the way of a design until you have 
sent a tile covered with specimens of your 
twelve colors to the kiln and noted the effect 
of firing upon them. A medium sized brush 



2go 



NeeDLS ilND 5I^Q$H. 



will caiTV all the color needed for experiment- mended, and the colors on the fired tile 
ino-, and of each color only a very little need usually show but little difference from those 
be laid upon the palette. To smooth each that have not been inside the kiln, 
little heap of color as you take it out, dip the The beginner may now essay a simple 
palette knife in some turpentine, which you design ; one representing but few colors is 
have previously poured into a cup (but do not best for the untrained decorator, and before 
take up any more of the liquid than adheres), attempting it the palette must be thoroughly 
and "grind" or rub the color to a perfectly clean, and the brushes freed from all traces of 
smooth consistency. Before laying your knife color. The fat-oil is incorporated with the 
down wipe it clean upon a rag; then dip your colors in mixing rt//(?r they have been ground 
brush in turpentine, rub out all the moisture with the palette knife, and it is invaluable, 
that will come out easily by pressing it gently but it must be judiciously used, as must also 
against aiiof/icr rag ; dip it in the color you the turpentine, which is an excellent dryer, 
have on your palette and lay this color in a The fat-oil should not be mixed with the paint 
little square upon your tile. Lay the color on as it lies on the palette because half a drop of 
so that it will be heavier at one side of the it sometimes goes much further than the ama- 
square than the other, and upon another tile teur's knowledge of it. Too much of it pre- 
having the same dimensions and marked off vents the paint from drying and its superfluity 
into twelve squares equal to those of your test is indicated by a permanent gloss upon the 
tile make another square of the color you have colors before they are fired. Colors which 
used. To avoid the possibility of mistakes show a very high luster when dry should not 
number the top of each tile i and the bottom be sent to the kiln as they never fire satis- 
2. Now clean the brush thoroughly in a cup factorily. A few drops of fat-oil upon the 
of turpentine (by no means dip it in the same palette are enough to work with, and the 
cup as the knife was moistened in) and go brush may be dipped in it after it has been 
through the same process with all the other moistened in clean turpentine and dabbled 
colors, being careful not to. have them overlap upon a clean rag to rid it of the excess of 
upon the tiles or become mixed upon the moisture wiiich it takes up. Having pro- 
palette. When all the colors in your supply ceeded according to this method you may find 
are represented by a square of each upon that you have too much turpentine — this being 
each tile send one tile to a firer and await, indicated by difificulty in working the color, 
with as much patience as your zeal will permit, which, instead of remaining as you laid it with 
its return. When it comes back to you study the brush, will run in streaks. If such is the 
carefully the changes in color which the case you may be assured that you have not 
process of firing has wrought by comparing it quite comprehended the method and proceed 
with your unfired tile, and keep both by you to gain further knowledge by experimenting. 
for future reference. The result cannot be For some time (until you are prepared to 
said to be an absolutely reliable one, because admit that your experience has brought you 
some of the colors tested would, if fired sepa- practical knowledge), confine your efforts to 
ratelv by a person who thoroughly understood conventional designs and simple fiower-sub- 
the process, be subjected to a greater or less jects, or to designs which embody your special 
degree of heat than the others, but the test is forte in coloring or drawing. If you wish to 
the most practical one that can be recom- save expense take your first ten or twelve les- 



NeeDLs anB gi^Q5H. 



291 



sons on small tiles ; 3011 can procure them for 
a trifling sum, and you will feel less regret 
upon contemplating those which 30U pro- 
nounce failures than if they were vases or 
plates. Should they turn out satisfactory you 
have in them the material for a lovely window- 
box or jardiniere. We will suppose that you 
are going to paint a cluster of yellow roses 



place it in an oven for a few minutes, but do 
not begin to work upon it until it has become 
cool. Draw the outlines of your design and 
prepare your palette with the first colors, 
which may be pearl-gray and brown-green. 
Paint in the whole design with pearl-gray, lay- 
ing on the darker color where you desire the 
heaviest shadows. Lay the gray on very thin 




Figure No. 2.— Decorated Plate. 



and their foliage upon a tile, and you are in 
doubt about the colors. Well, first prepare 
the tile by washing it in alcohol, then rub two 
or three drops of turpentine upon it, wipe it as 
carefully as if it were a piece of a cut-glass 
table service, and, if the atmospheric condi- 
tions are such that it does not dry perfectly. 



in medium shadows and treat your high lights 
as you would in water-color painting, working 
toward them and leaving the tint of the tile 
to show through where they are most pro- 
nounced. The piece is now ready for its first 
firing. When it comes back to you paint in 
the local color of the roses with mixing-yellow 



ig2 



NeeDLG -r-rB Bi^as^. 



d ivory-yellow, and strengthen ihe shadows yellow glow into the reflections. For the 



and ivory-yeiiow, 





Figures Nos. 3 and 4.— Ukcukated Cup and Saucer. 
with brown-green and gray mixed, throwing a leaves mix emerald and dark green, using also 



NeeDLG AND B^QSH. 



'-93 



\ 



some of the brown-green. All these colors 
were included in the outfit suggested. There 
are others which might be used for this sub- 
ject, but those reconmieiuled are good trial 
colors. 

Perhaps somebody will tell you that your 
colors will gain in luster if mixed with fiux. 
This is partly true, and as you progress you 
can safely experiment, though while engaged 
in acquiring your rudimentary color-knowledge 
you can dispen.se with it. Some colors emerge 
from the kiln with a glaze which requires no 
added luster, but others are improved by hav- 
ing mixed with them a little flux, which prep- 
aration is obtainable from dealers in artists' 
materials. 

Of course the whole art of china-painting 
cannot be taught in any book, and many hints 
of value to beginners must be omitted from a 
chapter limited to the space which can be 
given it in a book of such varied scope as 
Needle and Brush ; but the points eluci- 
dated, if carefully studied, will be found 
very helpful to beginners who are taking 
their first lessons without the aid of a compe- 
tent teacher. The rose-jar pictured at Figure 
No. I is not beyond the ability of anybody 
who has made a test tile and desires to paint 
a conventional design. It may be painted in 
yellow, red, brown or blue upon a white or 
tinted ground with the broken lines in the 
same or a contrasting color. The Japanesque 
characteristics of the subject are quite in har- 
mony with the use of gold either alone or in 
conjunction with some dull color, and the 
lines are not too intricate for a beginner. 

At Figure No. 2 a |)late, which, if properlv 
executed, may be fittingly associated with 
very aristocratic bric-a-brac, is represented. 
The plaque or plate has a greenish-blue 
ground tint which is faintest at the lower part 
and gradually deepened toward the top, the 
effect being quite aqueous, as is in keeping 



with the subject. The coral is in its natural 
hue, but the shell antl star-fish are merely sug- 
gestive of grayish light and shade. The large 
fish is painted a light silvery yellow shading 
into brown upon the upper part of the bodv, 
and the head, fins and tail are darkened with 
brown. The darkest portions of the body are 
spotted with yellow and red, and the high 
lights are very silvery. The net is all gold 
and should not be too delicately indicated. 

The cup and saucer illustrated at Figures 
Nos. 3 and 4 are of a fashionable stvle for 
after-dinner coffee. The ornamentation is in 
Pompadour-red picked out with gold, and the 
edges are bordered with bands of red outside 
narrower bands of gold. Most of the decora- 
tion is done in fine pen-strokes, the tiny con- 
ventionalized blossoms, however, requiring 
some brush work. 

At Figure No. 5 is illustrated a superb 
design for decorating in the Royal Worcester 
style. The entire surface, excepting the 
handle, the open edges and the border of the 
medallion may be tinted in matt colors ground 
in turpentine and then blended with a little co- 
paiba. The effect is richer wdien the excepted 
portions are plain gold. In this instance the 
decoration is developed in raised gold. The 
design is traced upon the pitcher, and the 
tint scraped off inside the lines. The paste, 
which is sold for raised gold work, is now 
applied so as to bring out the design of the 
bird and grasses in high and medium relief, 
the heads of grass which recede into the 
shadows being almost flat. The pitcher is 
now ready for firing, ])rovided all the portions 
which are to be done in plain gold are uni- 
formly covered. The retouching of such por- 
tions should not be left till after the first 
firing, which must always be done before the 
paste is ready to receive the raised gold. 
Both green, red and light gold may be used 
in such Avork, and when very fine traceries are 



294 



NeeDLs anS si^ti$H. 



to be executed Cooley's gold will be found a know this, it is well to send instructions to 

free worker. The surface of the paste should that effect. 

be smooth when the gold is applied, and the The gold will stand being highly burnished 




Figure Nu. 5.— Pitcher in Royal Worcester Style. 



second firing requires only a moderate heat. after the second firing, but careful handling is 

This is understood by experts, but if such a advised, because too strong a heat may have 

piece be sent for firing to a kiln where the rendered the paste brittle. Dexterity in such 

person in charge cannot be relied upon to details results from a light but secure hold. 



NeeDLG AND 5Ha$H. 



295 



§K><><> <> <><> 00 xxxxx x<> 00 <>o > 



CHAPTER XXXIX. 



SPilTTER-(I50RK. 




HIS class of decorative work is 
extremely effective, and is 
very easily done by any one 
who has the slightest taste for 
artistic effects. The articles 
needed are a piece of cardboard, the 
size the picture is to be, a moderately 
stiff brush — a tooth brush being recommended 
— and an ordinary comb, together with India 
ink, ink of sepia tints or other soft colors, 
which forms the spatters. Also fac-similes of 
the articles to be reproduced in the picture, 
which usually consist of foliage, tendrils, 
crosses, monograms, etc., etc. With these 
articles at hand the process may at once be 
begun. 

The designs, if to be in flat effects, such as 
monograms, emblems, etc., are fastened to 
the cardboard with a small, finely pointed 
tack or needle-point, and only enough pres- 
sure is used to keep the design steadily in 
place, thus avoiding perforating or puncturing 
the cardboard conspicuously. After one has 
become more expert in the work it will be 
better to do away with the tacks and have the 
designs held in place by light weights, if their 
own weisiht is insufficient. 



After the design is properly arranged the 
brush is dipped into the ink, which should be 
of moderately thin consistency, and drawn 
smoothly over the teeth of the comb, which 
forms a fine spray, or spatter, that is depos- 
ited upon the cardboard. This process may 
be continued to produce shaded and clouded 
effects according to the taste of the operator, 
and may be made with greatest depth of color 
either at the center and diminishing to the 
outer edge, (where it should be thin and indis- 
tinct to produce a vignette or halo appear- 
ance), or in the reverse manner, with the 
heaviest portion of the color about the mar- 
gin of the picture, and gradually decreasing 
toward the center. When the design is 
removed the portion of the cardboard which 
has been covered during this work will be left 
clear and white. This portion may in turn be 
shaded in beveled and other effects by having 
other designs similar to, but narrower than, 
the first, or those which are wider, or perfor- 
ated in different figures, placed over the 
design already outlined. Extreme care must, 
however, be exercised in placing the design 
on the board, that the edges may lie flat, to 
prevent any of the ink from spattering under 



296 



NseDLe AND BR^SH. 



the desio-n, as this would materially affect the variety of specimens from which to select the 

outline. pictures to be made. Fine blossoms may 

Maple and ivy leaves, together with those also be used, and should be pressed in the 

deeply serrated, are extremely effective, and same manner as the leaves, care being taken 

sprays of delicately colored foliage such as to separate the petals and portions of foliage 




Figure No. i. — Design in Statter-Work. 



ferns, smilax, and fine grasses are light and that may still be attached to the stem, so that 

airy in effect. By collecting these and press- the result may be as natural as possible. In 

ing them carefully between sheets of news- pressing foliage and flowers of an especially 

papers or an old book, in which the jiaper is sajijiy nature, it is better to change their loca- 

quite porous, one can have an unlimiled tion between the papers occasionally, to pre- 



NeeDLs AND BRtiSH. 



297 



vent mold or mildew forming ; I:)ut in so 
doing, careful handling is essential, as their 
mutilation would produce a very unnatural 
and imperfect appearance. In arranging 
these for the picture, which may be in designs 
to illustrate bouquets, wreaths, etc., the 
articles may be grouped upon the cardboard 
in any artistic fashion. For an ordinarv bunch 



obtained. One must take time in placing the 
leaves upon the cardboard and so arrange 
them that the removal of any will not affect 
the position of others, as the readjustment of 
any that might be displaced would be difficult. 
It is well to make the design with as few leaves 
as possible, giving distinctness to the outlines 
of those selected. 




Figure No. 2.— Emblems foR Spatter-Work. 



or cluster the finer and more delicate speci- 
mens that are to be about the outlines maybe 
placed first upon the cardboard, and the heav- 
ier or larger leaves laid over them. Then 
by beginning the process of spattering, and 
removing from time to time ditferent leaves, 
first taking away those that are uppermost 
and leaving for the last those that are to be 
more delicately tinted, an effective result is 



Among the many desirable subjects for this 
work, are the different shaped crosses, which 
may be cut in solid lines from heavy paper or 
Bristol-board, or in the more delicate and airy 
shapes produced by cutting them in different 
combination effects from either crossed or 
medium-sized perforated cardboard. Nearly 
all of our readers are acquainted with the 
method of producing pretty designs from this 



298 



NeeDLS AND BH^s^' 



perforated cardboard by the use of a sharply 
pointed pen-knife. A beautiful example of 
spatter-work, showing such a cross wreathed 
at its base with foliage is illustrated at Figure 
No. I in this chapter. The engraving gives a 
good idea of the shading and suggests a pretty 
frame for the piece. 

Masonic emblems, which comprise the 
square and compass, the sun's rays, the letter 
G, the ark, lamb, broken column, open Bible, 
the 47th proposition of the first Book of 
Euclid, etc., can be used. At Figure No. 2 
the outlines for the square, compass and letter 
G in combination are illustrated. They may 
be duplicated in pasteboard and reproduced 
in white or in a faint tint upon a darkly spat- 



laid upon whatever piece of material is chosen 
for the work and the ink deposited upon the 
space left by the cut-out portion. If in white, 
the design is placed upon the cardboard or 
other foundation, and the spattering is done 
upon the margin, leaving the portion revealed 
by the removal of the design perfectly white. 
A good way of obtaining silhouettes is by 
placing the subject for the likeness between 
a strong light and the paper upon which the 
outline of the shadow is to be thrown. Then 
with a pencil or crayon draw the outline of 
the shadow. In reducing to any size desired, 
one must exercise great care in cutting the 
lines, so that the prominent features of the 
profile shall be as nearly like the original as 




Figure No. 3. — Emblem for Spatter-Work. 



tered ground. Odd Fellow emblems, com- 
prising the three links, altar with lire, clasped 
hands, etc., are also used. Information 
regarding the designs of any crafts may be 
easily obtained from the members of such 
societies, who are always willing to furnish 
information to their fair solicitors. The triple 
links constitute a simple and pretty design for 
practice work, the exact outlines being given 
at Figure No. 3 of this chapter. 

Pleasing effects may also be produced by 
the introduction of silhouettes, which may 
embody a mirthful or serious sentiment, and 
be worked out in fiat effects in black or white. 
If in black, the design of the silhouette is cut 
out of a large card or piece of jjoper, which is 



possible. With a little practice this can be 
done with quite satisfactory results, which in 
many instances will resemble examples of the 
old-time silhouette art — the early method of 
preserving likenesses. Pretty effects are pro- 
duced by introducing in connection with 
flower designs the photographs of children, 
who are often seen easily poised upon the 
lilycup, or playfully thrusting a little head 
from the heart of a rose. If the artist be 
somewhat skilled in the drawing of human 
faces, a soft and pleasing effect is produced 
by tracing from the photograph the outline of 
the picture, cutting this in stiff paper and 
spattering in the manner described. The 
necessity of extreme painstaking in the intro- 



NGGDLG ilND BI^QS^- 



299 



ducing of the face, is quite apparent. If it be be easily taken from the mounting by allow- 
but indifferently done the efifect is far from ing it to soak in tepid water. Its immersion 
agreeable. If one is fortunate enough to have will not efface the photograph, and it must 
profile likenesses, silhouettes can be formed remain there sufficiently long to allow of its 
simply by making tracings of them and shad- being removed without straining, or stretching 
ing as directed with the foliage and emblems. the albumenized paper upon which it is 
The finished portion of the photograph can printed. 



Gl^ips frorQ Decorated (L\}im» 



If the dainty ware wi// chip the best thing 
to do is to gather up the chips, examine them 
carefully and from them learn, if we can, how 
to prevent further chipping. To prevent 
chipping from over-firing, always send your 
wares to a reliable kiln ; or if you do the fir- 
ing yourself study and experiment until you 
understand the process. The " rose " heat is 
as high as the soft paste which is used for 
raised gold designs should be subjected to, 
and in burnishing these designs after the 
second firing light handling is necessary. 

Quite as bad a defacement as a ragged or 
broken edge are the defacements and efface- 
ments of color which characterize carelessly 
done amateur work, but a great deal that 
seems to be the direct result of inattention to 
details, is often due to the decorator's haste to 
see the results of her work after its crucial test 
— firing. Ample time should be allowed for 
drying, and if there is any question or doubt 
regarding whether overlaid colors are dry, 
every piece should be subjected to a moderate 
degree of artificial heat before being exposed 
to the more intense heat of the kiln. No one 
should rely upon the attendants at the kiln to 
supply bits of colors that have become rubbed 
off in transit, as the defacement may be ren- 



dered more marked by the use of a wrong 
variety of color. 

An echo of the plaint of an aspiring novice 
in china decoration comes to our ears and 
tells us that far worse than any chipping 
which might occur was the condition of a 
beautiful plaque which went to the kiln in 
good condition but came back little better 
than a confused blotch of colors, so far as any 
ornamental attributes it might possess, was 
concerned. In painting it, an ambitious sub- 
ject which the artist might perhaps have suc- 
cessfully carried out on canvas, was selected, 
and among the colors liberally used was 
yellow. This color she has since learned is 
the unyielding enemy of almost every other 
color except green. It vanquishes almost all 
the reds, halting only at capucine-red, but is 
nevertheless one of the most beautiful colors 
employed in china painting, as the novice 
learned afterward. She received through the 
failure of her plaque a valuable lesson, and it 
is emphasized here for the benefit of those 
who read as tliey run. Make use of no colors 
which vou imagine depend on admixture with 
yellow for certain efi^ects, and do not attempt 
elaborate designs until you have acquired pro- 
ficiency in executing simple ones. 



ftS^I^ 



300 



NeeDLS AND gl^tlSH. 



vp:rim (pushion-(JoYeL 



OR cushions in every-day use upon are a great many varieties of scrim, but that 

the toilette-table and dressing-case, showing a uniform and r:ither loose weave is 

covers that can be taken off to per- best adapted to this purpose. The narrow 

:it'^^ mit of brushing off the dust that ribbons may be all of one shade or in two or 





Scrim Cushion-Cover. 



penetrates through them, and readjusted with- 
out loss of time, are the most practical, but 
they must be pretty as well or they will not 
win favor from fastidious women. This en- 
graving illustrates an especially pretty cushion- 
cover of scrim, bordered with lace and deco- 
rated with ribbon. Along the sides and ends 
of the cover threads are pulled out to permit 
of running in the narrow ribbons in the manner 
represented, their ends being folded under- 
neath to form loops. A large bow of wide 
ribbon is fastened near one corner. There 



more contrasting colors. Pink and blue give 
a dainty Pompadour effect, which is height- 
ened if the cushion case be of either color. 
Orange and white, cresson and rose, and gar- 
net and shrimp are also handsome combina- 
tions. A pin thrust through each corner will 
hold such a cover securely in place. A cover 
quite as effective as this is made of a square 
of lace insertion with several rows of lace 
beading about it. To the outer row of bead- 
ing a border of lace edging is sewed, and 
in the l)eading narrow ribbons are run. 



"BeLDING BROS. & CO. 



L 

D 

I 

N 
G 

B 
R 
O 



d 

O 
O 



"An Article of Permanency must have Merit for its Foundation." 

( :Ei: B'r.A-'^ijXSu::E i > xs6 3. ) 

THE LARGEST MANUFACTURERS IN THE WORLD OF 



Scii Is il 1 




Ahead of all Others. Reputation Established Beyond a Doubt. 



BELDING'S WASH SILKS are the best made. Phoenician Dyes and Fast 
Colors. 

"WASH ETCHING" for Fine Outhne Embroidery. 

"WASH TWIST" Embroidery for Heavier Work. 

"OUTLINE OR FILLING FLOSS," which may be spUt to any fineness 
for deUcate work on Bolting Cloth, Gauze, Silk, etc. 

"ROPE SILK." For raised work on Plushes, Chamois, etc., where elaborate 
effects are desired. 

These Goods are Unexcelled for L USTRE, PERMANENT COLOR 
and REGULARITY. 



BELDING'S SUPERIOR KNITTING SILK. 

EO NOT BE LECEIVED. THE BEST IS THE CHEAPEST. 






Don't allow your shopkeeper to impose upon you by selling you some other Silk, repre- 
senting that it is "just as good as BELDING'S." 

Every spool of BP]LDING BROS. & CO.'S •• Superior" Knitting Silk has a blue label 
printed on the end of the spool, of which the illustration here ^iveii is a/ac simik, and each 
spool of the silk is warranted by them as made of pure ihread silk, identical with that used 
by them m the manufacture of their well-known Machine Twist and Sewing Silk, which 
have the highest reputation and have always been awarded PRIZE MEDALS for superi- 
ority, over all competitors, wlierever exhibited. 

BELDING BROS. & CO., 




MILLS: 

3Sroar*tiItL{aiixx;E>ton, A^ass. 
IMIoxx-bireaX, Oaao-adeij. 
Saix ZFarazn-cisco, Cal. 



BRANCH HOUSES: 

Clfci-icago. Bos'toxi.. 

S-b. r'a-uLl - Fli±laca.eli>li±a- 

C±nc±ii-na'fc±- San Fzrancisco. 

3yi:on.-b3real3 Oaartacia- 



1 



302 



NeeDLS AND B^^SH- 




Good in Everytliiiig. 

The home decorator, who fully under- book is painted on a common, wayside stone, 

stands the variety and the possibilities of distinguished from thousands of others only 

decorative art mav be fitly said to compre- by being unusually smooth and of an oval 

hend the poet's meaning of shape. Both oil and water colors may be used 




Decorated Stone on Easel. 



" Sermons in stone, 
Lessons in running brooks, 
And good in e\'erything," 



for such work. The easel is of wire. Some- 
times such a stone, after being painted upon, has 
For beneath her touch uncomely objects gain a semi-covering of plush drawn over it so as to 
grace and beauty. The pretty landscape form a rim or frame around the painting, and the 
which forms the concluding illustration in this easel is covered with plush of the same color. 




NeeDLG AND 5Htl$H. 



3°3 



KURSHEEDT'S STANDARD SILK-EMBROIDERED APPLIQUES IN NATURAL COLORS. 

A full assortment of Silk Embroidered Appliques can be found iu No. 22 of Kubsheedt's Standaed Fashionable Specialties. 

KURSHEEDT'S STANDARD FASHIONABLE SPECIALTIES 

U sent free for one year to parties ordering goods to the value of One Dollar or over. Published four times a year. Single Copies, 
7 cents. Yearly Subscription, 'ib cents. 

Please mention Needle AND Brush. AdDRESS: THE KURSHEEDT MANUF'G CO., NBW YOfk City. 




No. 7^4.— Kursheedt's .Standard Basket of 
Flowers. Price, 13 cents each. 




No. 920.— Kursheedt's Standard Cluster of But- 
tercups. Embroidered in either Red, Yel- 
low, Pink or White. Price, 8 cents each. 





No 953.— Kursheedt's Standard Moss Rosebud Cluster. 
EmbroKleied In either lied, Yellow or Pink. 
Price, 7 cents each. 




No. 911.— Kursheedt's Standard Pansy. Em- 
broidered In either Purple, Yellow, White 
or Lilac ; also Yellow and Purple, and Lilac 
and White. Price, 14 cents each 




No. 827.— Kursheedt's Standard Spray of Buttter- No. 705.— Kursheedt's Standard Pea- No. 916.— Kursheedt's Standard Daisy. Em- 
cups. Embroidered In either Red, Yellow or cock. Natural Colors. Price, 28 broldered In either Red, Yellow, Pink or 
Pink. Price, 9 cents each. cents each. White. Price, Scents each. 



304 



NSeDLG AND BI^Q$H. 



HAVE 

YOU SEEM 

INCALLS' 



H'r^lUIE' Magazine '^ ^^"^''^ *^°P'^^ ^^<^- $l-00 per year. 
WIVIK IVIMViA^II^C . It jg .^ tjjjgi_^. illustrated Mouthlv 

Magaziuo of 64 pages, devoted to Home Decoratton, b'ancy Work, Art Famtinij, 
Domestic Hdps for the Home, etc. LIDA and M. J. CLAKKSOiN, the popular artists 
and authors, wriie only for Ingalls' Home Magazine. This Alagazine once m 
three months, contains, a FULL-PAGP^ COLORED PLATE. Al^o full instructions 
for its treiitmeiit, being reproductions from original paintings by LIDA CLARK- 
SON. The Four Colored Flaies are v orth t/ie price o/ a yearns subscription. Send 
your full address and one 2 cent stamp and we will send \ou a sample copv 

Address J. F. INGALlS, Lynn, Mass. 



INGALLS stampingj^aint: 

USeO FOR STAMPING 

FELT, VELVET, PLUSPI&PAKK GOODS[r|Hll| 

SMALLTUBES IScts. LARGE TUBES 25c 

teMJ5R:y>5L^JA6MlSA^LSiTa\Ml^gMfeS^ 



We send a Tube of INGALLS' STAMPING PAINT also STAMPING BRUSH, DE^JEt-ESE, with 




IiTGI-^^ni.LS' 1S8Q 



$ 1 ♦OO ^tatiijiin^ Qutfit^ 

npHIS OUTFIT contains a Tube of Insralls' Stamping Paint (used Tor f^tauiping Plnsli, Vel- 
J^ vet «nd Dark Goodss Stamping; Brui^li, Sox Powder, Pad, Book of Bnstrut-tioiii^ for 

Stampiii", and ItVGAS^iiS' 18R9 CATALOGUE OF STAMPING PATTERNS, and tl»e following 
list of FUMIj SBZED Stamping; Patterns: 

ANDSOME Al,PHABET of 2C letters, ornamented with DAISIES AND 
WHEAT, size two inches hieh— DESIGN OF APPLE BLOSSOMS FOR SCARFS, 
etc., size, 16x8 inches— BORDER DESIGN OF ROSEBUDS FERNS, etc., size 20x8 
— CAT-O'-NINE-TAILS, 16x8-DAISIES, 14x7— GOLDEN ROD, 14x8— IRIS, 14x7 
— DESIGN FOR TIDIES, SOFA - PILLOWS, SHOPPING BAGS, APRONS, 
SCARFS, etc.— CALL A LILY, 10x9- FUCHSIAS, 10x8-CLOVER, 8x8-NASTUR- 
TIUMS, 8x8— MORNING GLORIES, 8s7-SUMAC, 8x6— TIGER LILY, 8x6 — 
PANSIES, 8x6— COXCOMB, 8x6-TULIPS, 8x5-LILIES-OF-THE- VALLEY, 7x6— 
EASTER LI LIES, 7x3— SCALLOPS, l^a "nd -Vi inches wide— TRAY-CLOTH DE- 
SIGNS—TURKEY ON PLATTER —STRING OF FISH — STRAW- 
BERRIES — CHERRIESAND GRAPES-SMALL DESIGNS FOR CRAZY 
PATCHWORK, etc.— OWL-BUTTERFLIES -BUGS-TENNIS RACK- 
ETS-CHILD'S HEAD— SNOW-BALLS— DAISIES-PINKS-FORGET- 
ME-NOTS — WHEAT— BUTTERCUPS — WILD ROSE - TRUMPET 
FLOWER, etc — TINSEL DESIGN, 6 inches wide — LARGE DESIGN FOR 
TABLE SCARFS AND COVERS-SPLASHERS - PANELS - TINSEL WORK, 
etc. -POND LILIES, 15x7— POPPIES, 12x8— SWANS, 20x8-WILD ROSES, 16x18. 
We send this Outfit by mail, post-paid, for $1.00. This is the beet $1.00 Outfit that 
we have ever advertised. 

With this Outfit you can save money by doing your own Stamping, and make money by doing Stamping for others. The Pat- 
terns in this Outfit arc made on 15 sheets of our best Parchment Paper (size of each sheet, 22x9 inches). These Patterns are made 
especially iov tlii.-* Outfit and are aU different from the Patterns in our 1897 $1.00 Outfit. Send $1.00 for tliis Outfit, and 
you are sure to be more than wtisfiert. Address all orders to J. F. INGAM.S, Lynn, Itlass. 




EXTRA 

SPECIAL 

OFFER! 



Vv^e -vcr±Xl sexicL 3ro-UL I"N"G-.A.XjXjS' 1880 Sl-OO 
ST-A-DVCI^IZSTG!- OXJTDFIT, ana. a. "testae's SoxIds- 
ci?±i>t±on. to IlsrG-.A.lL.IjS' HOIs/IE DVC.A.C3--A ZinSTE, 
alX ±OJC Sl-75. 

.^Vcldx-ess J. IP. X]V<3^.i!VXjXjS, Xjynn, 'SilK.a.mm. 

Mention "Needt.e anti BnusH." 



NeeDLe and 5i^ti$H. 



305 




(COPTETGHTED.) 

Miss Meddlesome (to her mamma.)— "Ah! We have now discovered the secret of her gracefully draped dresses, which have 
been the envy of our lives. Look I She has the Hall's Bazar Form. We shall send for one at once I It can be adjusted to fit 
either of us." 

Miss Fashion Plate (soliloquising.)— "The effect is simply charming. It would have been impossible to produce this result 
■without Hall's Bazar Portable Form. I can now make over and drape my own dresses and not become worn out standing for 
the dressmaker. This Form was a happy thought, and is worth more than its weight in gold to ladies easily fatigued by standing." 





BAZAT. iKIRT FORM. CLOSED AXD 
OPENED. 



SENT TO ANT ADDEESS ON RECEIPT OF PEICE. 

Complete Form, $8.50. Skirt Form, (iron post) to which bust can "be addled, $3.50. Bazar 

Skirt Form, (-wood post) in case, $3.00. 

-— >HAL.L'S BAZAR FORM COMPANY,-^^ 

833 Broadway, New York. 

NOTICE.— We have placed Hall's Bazar Portable and Artiustable Dre?s and Skirt Forms on sale in our own salesrooms in London, 
New York and Chicago. We consider them the most complete articles for the P>irpose designed that have ever be^^^ mtroaucea and 
cheerfully recommend them to our customers and agents everywhere. THE BU 1 iekh^k i:-uiJL,i&iiiiMj >-u. (i^.u-iitu). 



3o6 



NeeDLG AND gi^ti$H. 



44 



ft 



EVERY WOMAN INTERESTED IN NEEDLE-WORK SHOULD READ 

A Companion Volume of "Needle and Brush." 

EEDLE-CRAFT IS A BEAUTIFUL WORK, WITH ILLUMINATED CLOTH COVER, in 
which the Fascinating ART is Clearly and Completely Described and Illustrated, 
Full Attention being given to every Department of NEEDLE-WORK in vogue. 

Thg gooi^ (Contains HaNDi^eDs of Gngi^aVings, 

with FULL INSTRUCTIONS for their reproduction and VALUABLE HINTS regarding the 
MANNER OF WORK and most Suitable MATERIALS. 



i< 




(^ 



^eJ^^]^^ 



"fmh 



{{ 



beedle-^raft 



n 



will prove Invaluable both to the 

Amateur Needlewoman and to 

the Practical Maker of 

Fancy Articles. 



THE PRICE OF 



u 






mmn 



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$1.00 or 4-3. 

Prepaid to any address in the United King- 
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If the Book cannot be obtained from the nearest Agency for the sale of goods, mail 
your Order direct to us, sending funds by draft, post-office or express money-order or by 
registered letter. 

THE BUTTERICK PUBLISHING CO. [Limited], 

1 7Uo 1 75, 3ie<je4'vt St., £ovvbo^,^^.; oz,?, 9 ai^b 1 1 "W .^kiztii^^^^k St., '!^<l^M^ozk. 



^>A + Welcome + Book.*^ 



THE LATEST AND BEST IDEAS ON- 



ETIQ-CTEITTE] 



^utitj SccpCai-w-eb in^ 




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Price, $1.00, or 4s. 




pHAT to Do and How to Act in 
every phase of Social Life is 
entertainingly set forth in this 

COMPREHENSIVE WORK, 

which is replete with valuable hints and 
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of young people who may be seeking 
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but also of persons of maturer age in all 
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— ^AS A BOOK OF REFERENCE^— 

to settle disputes regarding the nicer or 
more rare points of Etiquette, it will be 
found invaluable. It includes 384 pages 
of reading matter, printed in clear type 
on handsome paper, and is elegantly 
bound in cloth, with gilt title. 



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